Louise, who has just written a novel, comes to Paris to meet with a potential publisher. While in the city, she stays with her older sister, Martine, who in many ways is the exact opposite of Louise: she lives in a fashionable neighborhood, is cold to others, and has snobby friends, while Louise lives in a small town and is thoroughly unpretentious. Louise's apparent happiness -- and similarities to their mother -- gradually gets on Martine's nerves.
Alexandra Leclère
Director
Isabelle Huppert
Martine Demouthy
Catherine Frot
Louise Mollet
François Berléand
Pierre Demouthy
Brigitte Catillon
Sophie
Michel Vuillermoz
Richard
Christiane Millet
Géraldine
Rose Thiéry
Fernanda, la bonne
Bruno Chiche
Charles
Jean-Philippe Puymartin
L'éditeur
Aurore Auteuil
L'hôtesse accueil éditeur
Antoine Beaufils
Alexandre Demouthy
Although Christmas is a time of year for love and cheer for all, holiday cinema has not always represented diverse communities. Being a holiday with Christian origins, much of its media consists of straight white families or straight white romances. Luckily, modern years have been bringing with them plenty of POC and LGBTQ+ representation that the holidays so desperately need.
Happy Gilmore 2 is the perfect comedy to take you back to a simpler time
Keep scrolling to find names that should become part of your watchlist!
Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.
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.