James Kirk (not that one) borrows a Time Suit from his employers to go back in time and save his wife. And also to stop a worldwide pandemic. In that order. But there are consequences to messing with the timeline. Will Kirk save the day, or unravel all of reality?
True crime media is notoriously obsessed with the “missing white woman” trope, and yet the vast majority of American murder victims are male, and well over half are people of color.
The film, which focuses on an Argentinian family during an intimate birthday dinner, efficiently captures the eccentricities of each character as well as the nuances of their interpersonal dynamics.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
One young woman with an unusual background tries to find and establish herself in the real world, which isn't exactly as festive as she hoped it would be.
Documented human suffering is never easy to view or read about and is understandably triggering for many people, but it can be educational, and education is a key to change. An overwhelming amount queer people worldwide (and in my own country) have it far worse than I could imagine, and documentaries such as Welcome to Chechnya bring issues to light that certain groups of people would never see.
