Yoko, a high school student, lives with her brother, Kenji. Since they lost their parents early, they have been supported each other. One night, Yoko witnesses Kenji, who is planning to get married, having an affair with Misa. Kenji’s cheating makes Yoko frustrated; however, Yoko felt uncomfortable and unsatisfied with Kenji's fiancé, Kaho, because Kaho suddenly cut into life of Kenji and Yoko. In a weekend, Yoko tails Misa and decides to speak to her. Compulsion and curiosity make Yoko confront Misa, but Yoko is seduced by Misa’s gentle and strong yet unstable character. Then, Yoko tells Misa, “Why don’t we stop my brother’s wedding?” A strange complicity relationship between two women begins.
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.
This drama film is about Priscilla and Elvis Presley's failed marriage through the lens of the title character.
Not only does the system prevent upward mobility, but it makes it incredibly easy to slide from comfortably middle class to unhoused.
As one of the women said in the film, friendship in your teens is “as important as any lover” and it’s clear they lived that philosophy throughout their early adult lives as well.
Mona Fastvold’s nineteenth century lesbian romance is emotionally charged, restrained, and poetic without feeling forced.
'The Last Black Man in San Francisco' is part fiction, part documentary. Jimmie longs for the old Victorian home that he grew up in — the house that his grandfather built. However, this home is now in an overpriced, White, San Francisco neighborhood.
