Ali, a fisherman, devoted his life to his young son, Efe. Efe was the only son of Ali who was in this life. Efe is different from other children. Efe, who has a communication problem, is not a child who can laugh and play and react to what he hears. As Ali tries to bond with his son, he runs into many barriers in communtion with him, and Ali's greatest wish is to know that his son understands him. The plot evolves around a father who loves his son dearly but going thru many struggles to create communication channels with his who carries the burden of the memories of his father, his mother and the woman he loves, will shape the life of both.
Films and TV series often tend to misrepresent or not acknowledge bisexual characters, but recent trends show that bi-erasure is now under deserved scrutiny. So, I’m genuinely happy about the direction bi-representation seems to be taking.
This little Netflix film was very inspirational. It passes the Bechdel test, and features a different worldview with rural Indian representation.
It is the attention to detail that makes Wolfwalkers resonate more than Luca for Queer representation
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.
A Black woman centered in a box office rom-com with a happy ending and no struggle love.
"There is something going on between us that I cannot unravel."
