'Zola' is a Modern Black Fairytale
It’s fun, it’s energetic, but it’s also understated and vicarial. Zola is a modern black fairytale and future of black movies.

The film tells that the catastrophe era, the earth is a waste land, the survivors are divided into wanderers and civilians, they are attached to the rule of the interstellar armed groups, in which the rogues rely on the plundering of civilian materials as a livelihood, making civilians in this harsh It is difficult to survive in the environment. After a hundred years of black technology explosion, it will bring about a civilized renaissance. In the face of the deteriorating planet, mankind is determined to continue the race and is determined to interstellar immigration. The "curvature engine" developed by the Chinese researcher Hailei has become the key to the interstellar immigration, and is also the target of robbers and interstellar armed groups.
It’s fun, it’s energetic, but it’s also understated and vicarial. Zola is a modern black fairytale and future of black movies.
'Midnight at the Paradise' premieres tomorrow at Toronto's Paradise Theatre! I had the pleasure to sit down with Vanessa Matsui to discuss the making of this film.
The plot could’ve really been interesting if the elements of lycanthropy was integrated with perhaps the struggle of identity of being LGBTQ+. It's an experience for so many that as they’re starting to realizing their true selves, they feel like a monster, especially if they come from unsupportive homes or communities. Instead, the horror and transformation elements seem thrown in without contemplation of how this could deepen the narrative.
The "Daredevil" renaissance is finally upon us! As we return to the Netflix show, let's take a look at the ways the show gets blindness right and wrong.
Netflix’s new comedy drama, Don’t Say Good Luck, is a heartwarming tearjerker as well as a love letter to the transformative power of being a theater kid. Directed by Julia Hart, Don’t Say Good Luck follows Sophie (Sunny Sandler), a theater kid who finally gets the lead role in her school’s production of Waitress - just as she finds out her mom Elizabeth (Melanie Lynskey) is dying of cancer. While the singing is by no means spectacular and Sandler’s acting is stiff, the film is grounded in the moving performance of Lynskey as a mother who wants nothing more than for her daughter to achieve her dreams, even if she can’t be there to see them.