‘Fast Color’: A Strikingly Different Take on the Superhero Film - Movie Review
Set in a future dystopian United States in which water is running out, Julia Hart’s Fast Color (2018) is a refreshingly different take on the superhero film.

After the death of her mother 18-year-old Sahar is left in charge of her poor, mentally disabled father in an isolated village in Iran. Sahar dreams of attending university and becoming a doctor, but extended family insist she play the role of caretaker unless her father remarries. This warm and intimate observational portrait captures a young woman caught between traditional gender roles and her desire for self-determination, volleyball and Instagram.
Set in a future dystopian United States in which water is running out, Julia Hart’s Fast Color (2018) is a refreshingly different take on the superhero film.
Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.
By undermining the appeal and credibility of black characters, the show compromises the very idea of diversity and representation it sets to promote.
Despite its simple premise, “imagine being a woman,” the horror behind "Men" feels fueled by a hollow understanding of the insidiousness of misogyny.
Star Wars is better if you believe that Luke Skywalker is gay. You can't change my mind.