"The World to Come": A Stunning Period Romance
Mona Fastvold’s nineteenth century lesbian romance is emotionally charged, restrained, and poetic without feeling forced.

A fine day. Ojii leaves Koma alone at home. While Ojii is worried, Koma is a little excited, wondering if Ojii will be happy if she behaves nicely. In time, it begins to rain and thunder. And finally the light goes out. Koma, scared, shivers and something is behind her...! Can Koma go through this situation?
Mona Fastvold’s nineteenth century lesbian romance is emotionally charged, restrained, and poetic without feeling forced.
As Sexual Assault Awareness Month comes to an end, I’d like to urge viewers and filmmakers to take a long and hard look at how rape is portrayed on screen.
Haven't you heard? There's a new horror subgenre: cerebral gore, that's probably been around for decades and we're now just starting to talk about it.
The film is a simple love story reminiscent of stories like The Notebook released in 2004. Sylvie and Robert are rarely actually together in the film, however; time and circumstance keep them away from each other, and the audience waits with bated breath to see them find one another over and over.
In the film adaptation, director Jon M. Chu turns each musical number into a massive show stopper, with grand set pieces and a wealth of diverse dancers. Yet, in this attempt to show reverence for the people of the Washington Heights barrio, Chu, or maybe more specifically those in charge of casting, left out a crucial part of the community, Afro-Latinos.