Swept Away by You, Me, and Tuscany
A Black woman centered in a box office rom-com with a happy ending and no struggle love.

Proud Irishwoman Bridie Quilty journeys to Dublin while World War II rages across Europe. During her travels, she encounters J. Miller, who recruits her as a Nazi spy. She acquires the necessary information that leads to the breakout of a German spy who holds key information about the Allies' newest offensive plans. However, the arrival of British officer David Baynes and his romancing of Bridie lead to unexpected consequences.
A Black woman centered in a box office rom-com with a happy ending and no struggle love.
“I’m always interested in exploring female fantasy, and the sexy witch is a loaded archetype that is simultaneously about men’s fears and fantasies about women, and women’s feelings of empowerment and agency. So whereas we are used to seeing the sexy witch or the femme fatale from the outside, I wanted to explore her from the inside.” - Anna Biller, on why she made The Love Witch
A legacy based on the comic strip for old and new fans of Peanuts.
Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.
When you think of the horror genre, the LGBTQ+ community is probably one of the last things you think of. However, horror is much more queer-coded than you may think.
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.