The film chronicles the lives of ordinary women as well as individuals such as Harriet Tubman, Elizabeth Keckley, Frances Willard, and Abigail Scott Duniway through the great 19th century events: industrialization, abolition, the Civil War, westward movement, temperance, and suffrage. For nineteenth century women, quilts were the podium, the pulpit and the judges' gavel, which their society denied them. Their quilts speak the language of abolition, patriotism, politics, social justice, and westward expansion.
In the film adaptation, director Jon M. Chu turns each musical number into a massive show stopper, with grand set pieces and a wealth of diverse dancers. Yet, in this attempt to show reverence for the people of the Washington Heights barrio, Chu, or maybe more specifically those in charge of casting, left out a crucial part of the community, Afro-Latinos.
I hope that more people will see Joyland, understand the situation, and eventually change themselves and society so we can have a more accommodating world where everyday tragedies like the one depicted in the film do not occur.
Though 'Bound' technically falls under the genres of crime and thriller, the film's heart is a romance between two women.
'Kobra Auto Retrato' chronicles the inspiring journey of Kobra, a world-renowned Brazilian muralist and street artist.
The French-born director Laure de Clermont-Tonnerre’s strategic choice to entrust the interpretation of a conventional, feminine character to a non-binary actor pays off: Corrin’s Lady Chatterley is awkward, edgy, and uninhibited at the same time.
