Ivy and Bean form a new Friendship
Two young girls meet in the same neighborhood unexpectedly as they embark on a new adventure using their imaginations as this movie brings strong representation among women.

Bastien is twenty years old and has been an activist for five years in the main extreme right party. When the presidential campaign begins, he's invited by his superior to commit even further. Initiated into the art of decking himself out like a politician, he starts to dream of a career, but old demons surge forth...
Two young girls meet in the same neighborhood unexpectedly as they embark on a new adventure using their imaginations as this movie brings strong representation among women.
Wilde’s coming-of-age comedy directorial debut is simultaneously hilarious and entertaining, and remarkably heartfelt and relatable.
“Nobody 2” is the kind of sequel you expect to roll your eyes at—and then end up grinning through the whole thing. Bob Odenkirk proves once again that an ordinary-looking guy can be the most entertaining action hero alive, battling cartels with harpoons, deep fryers, and pure chaos. Toss in Sharon Stone as a delightfully over-the-top villain, and you’ve got 89 minutes of wild, joyful mayhem that reminds you why going to the movies is just plain fun.
Gritty and bleak are the best words to describe this film. There’s nothing happy about it.
In Spike Lee’s She’s Gotta Have It (1986), we follow the love life of powerful female protagonist Nola Darling (Tracy Camilla Johns) and explore the relationship dynamics she has with her partners. She sees three men simultaneously: Greer Childs, (John Canada Terrell) Mars Blackmon (Spike Lee), and Jamie Overstreet (Tommy Redmond Hicks). Though an 80’s film, She’s Gotta Have It is surprisingly progressive with its themes of female sexuality, although at some points in the film it is handled clumsily. Overall Nola is an incredibly compelling character especially for modern women, as we as a society acknowledge female sensuality more and more without the negative stigma.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.