The Relentless Victimization of Marilyn Monroe in "Blonde"
'Blonde' commits a relentless assault on the autonomy of Marilyn Monroe, reducing the icon to nothing more than a victim of the director's whims.

Foreign Office focuses on the period during which Algiers – between 1962 and 1972– became the “mecca of revolutionaries”, hosting representations of many liberation movements from Africa, Asia and the Americas, such as Eldridge Cleaverʼs International Section of the Black Panther Party, Mandelaʼs ANC, or the PAlGC (African Party for the Independence of Guinea and Cape Verde) founded by Amilcar Cabral. Taking as a starting point this forgotten past of post-independence era and internationalism, Foreign Office, invites to reflect on history and its transmission, and on emancipation as essentially linked to poetry. The film shows two young Algerians “re-writing” this history through images, language, and orality, articulating an historiography defined by “cinematic montage” as well as by translation as forms of writing, investigating, and reflecting on history and its resonances.
'Blonde' commits a relentless assault on the autonomy of Marilyn Monroe, reducing the icon to nothing more than a victim of the director's whims.
Its predictability shouldn’t distract from the enjoyment that the pure cinematic imagination behind the camera elicits. It is a movie of crises both moral and mortal, oozing with CGI, and thoroughly enjoyable.
I didn’t love Expecting Amy, the mini-series following Amy Schumer’s pregnancy, but it brought up a lot of great unspoken side-effects of working and growing a human in America.
The latest installment in the beloved media franchise is a unique stylized mesh of humor and heart.
At first glance, “The Good Liar” is a respectable piece of fiction, starring Ian McKellen and Helen Mirren. But underneath everything, the film expertly hones the unpredictability of deceit.