
One day, a girl sits in the car of the director of a large plant, Pyotr Semenovich Polyakov, calls herself Varya and shows the found father a photo of her mother. And now, in search of the lost, the director comes to the city where he once loved Varina's mother, Zinaida...
Facing the world with our fair share of uncertainties and/or apprehensions, many of which, sadly, may be well-founded, is nothing to sneeze at. Influenced and buffeted by the constant barrage of social media, fake news, and general upheaval present in our contemporary reality, what IS real and what's not becomes a blur.
Few movies deal with aging (particularly aging women) with as much compassion as Relic does. Yet it’s not sickly sweet and not a soapbox rant against ageism. Relic simply is, allowing the horror to seep in quietly and carefully.
I’m still trying to comprehend the psychological and moral implications of their fascination with each other, or why their almost written-in-the-stars depth of connection makes so much sense.
KPop Demon Hunters took social media by storm recently—is it truly as good as people have hyped it up to be?
Perhaps the most amazing and groundbreaking quality about The Birdcage is how removed it is from both illness and insensitivity. Whereas films preceding it were often somber stories about the tribulations of being gay in a conservatively straight world, Nichols and screenwriter Elaine May expose the fallacies of conservatism as traditional values are thrown into a more open-minded space. They don’t care how far the community has fallen so much as how high they can rebuild themselves.