A man finds a metal ring in a pile of scrap metal that matches the size of his head to crown himself king of the place. An unwelcome beggar arrives and finds another, shiny, and more royal crown. The "king" observes it and is envious of the symbol; he cannot allow anyone to try to take his place. He attempts to seize it, and they fight to the death. The "king," triumphant, keeps the crown.
The plot could’ve really been interesting if the elements of lycanthropy was integrated with perhaps the struggle of identity of being LGBTQ+. It's an experience for so many that as they’re starting to realizing their true selves, they feel like a monster, especially if they come from unsupportive homes or communities. Instead, the horror and transformation elements seem thrown in without contemplation of how this could deepen the narrative.
People are so much deeper and far more extraordinary than what gender they were assigned at birth.
My Beautiful Laundrette is often referenced as a positive LGBTQIA+ film because our two main characters are in a homosexual relationship with no shame, fear of violence or criticism. The struggle is not their sexuality. It is the treatment of the Pakistani citizens in England.
Intergenerational friendships and community can be so powerful, and this was a great example.
The more biting satire is reserved for those on top of the power structure, such as the police, while those occupying lower levels are given more nuance and likability, even if they operate on the wrong side of the law. This principle gives Deep Cover its heart.
The movie opens with an empty house, cameras pan around from the perspective of what viewers are confused about at first, but turns out to be a spirit living in the home.
