
Newport, Oregon. In a coastal town, Jeff and his wife Mattie work together facing the economic shifts. One son Chris, is unemployed; the other, Steve, is away on military service. Chris is lackadaisical and shiftless, Mattie perhaps drinks on the sly and tried to help her son, Jeff keeps his nose to the grind-wheel. Chris is dumped by his girlfriend, Jamie. Jeff scrambles to stay afloat. During a therapy session it is revealed that Chris is Jeff's step-son. Steve returns, but in a "transfer tube". Following his funeral, the family meet; an argument erupts, revealing the depths of the division between Jeff and Chris. In a counseling session Chris breaks down and is comforted by the counselor. Mattie and Jeff, lost in their grief, each lose their way.
Emily Henry’s adaptation reaches romance movie standards, but not romance reader standards.
I understood post-memory as passing down stories and images of one’s experiences that are not your own. For decades, rape has been depicted in cinema through a third-person perspective, leaving the viewer to observe rape; not to experience it.
Director Martin Scorsese broadens his boundaries from mafia-driven movies, to a Buddhist biopic of the 14th Dalai Lama. While Buddhism strives for peace, ‘Kundun’ reveals the violence inflicted on Tibetan Buddhists and Scorsese’s depiction of violence does not stray away.
It was always people for Joe, and he ultimately found them at the end of a long, painful, yet illuminating quest for self-discovery outside of one, confident constant - his bisexuality.
A direct fall into the white savior narrative