The third film in the Kanto Street Peddlers series. Sugawara still plays the same Kanto street peddler, who this time ventures to Osaka where he defends a blind girl at a street market. The area is targeted by rotten yakuza (Asao Koike and Tatsuo Endo), who have lured local senior female boss (Nijiko Kiyokawa’s) rebellious but not entirely indecent son Goro Ibuki to their side.
'Legally Blonde' remains a standard of feminist filmmaking over two decades after its release, although its poor treatment of racial and sexual minorities make it a product of its time.
2025 has just about wrapped, so we’re taking this time to celebrate the most inclusive films that came out this year. Graded on Gender, Race, LGBTQ, Disability, and more
Portraying how easy it is to be an ally heavily benefits the majority audience. The more we encourage it, normalize it, and give people the tools to become one, the sooner we can co-exist peacefully.
Our trilogy at Seabrook High School starts with a rivalry between zombies and humans who eventually come together.
At its heart, it’s a fond tribute to an influential artist and thus one that can speak to everyone’s inner artist, even if it lacks the sincere commentary you may wish to see.
“Candyman ain't a 'he.’ Candyman is the whole damn hive." Candyman represents all Black victims of white supremacy, and this art form narratively conveys it in a succinct, adulatory way, the history of which is rare to find.
