‘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.

A woman and a man, living in a trailer, are sitting at each side of their dinner table. The woman is glaring at the man, but the man seems completely remote. The woman runs out of their trailer and starts to wander around the forest.
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.
If you've watched 'Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles', you are either someone who believes “nothing happens” in this three and half-hour film or you’re like me who believes everything happens.
Praising Black representation and condemning the power structures that suppress it, a mother delivers an impassioned speech to her distant son.
When the world lost Chadwick Boseman on August 28, 2020, we all saw the impact of representation in film. Boseman was not only a Black superhero leading a Black cast in one of the most successful films in history; but his successes paved the way for more, long-overdue diversity in Hollywood.
After years of mediocrity, Thunderbolts* is the welcome change MCU fans were waiting for.
When it comes the horror genre, I am VERY hard to please or impress, much less scare. Coming from a current mindset of appreciation for chilling, unsettling, tension-inducing efforts such as "Hereditary", "The Conjuring" (ONLY the first one to date, mind you), "Lights Out", "The Babadook", "Midsommar", "Talk To Me", "Oddity", "Bring Her Back", and the like