'Zola' is a Modern Black Fairytale
It’s fun, it’s energetic, but it’s also understated and vicarial. Zola is a modern black fairytale and future of black movies.

Tefa and Nia live in a small town near the Magdalena River, where they raise Nia's young nephew. Nia persuades Tefa to join her in smuggling cellphones into the regional prison. Their journey leads them through an extravagant amusement park built on the grounds of a drug lord's former estate. As they wander among water slides, verdant paths, and concrete dinosaurs, disquieting memories whisper in the summer heat. In a landscape where violence lingers beneath every surface, Tefa is drawn toward an inevitable encounter.
It’s fun, it’s energetic, but it’s also understated and vicarial. Zola is a modern black fairytale and future of black movies.
I hate the idea that animation’s for kids; just because it’s animated doesn’t mean that it’s some silly cartoon and shouldn’t be taken seriously.
In Paul Feig’s newest comedy, Last Christmas, Katarina (Emilia Clarke) didn’t give a heart, she got a heart, you see.
Of the 28 total films I watched, just six of them were queer or featured queer characters in some way.
The film, which focuses on an Argentinian family during an intimate birthday dinner, efficiently captures the eccentricities of each character as well as the nuances of their interpersonal dynamics.
Adrian Chiarella’s Leviticus is a beautiful, poignant, enraging, gut-wrenching, and heartbreaking film about the trauma and harm conversion therapy inflicts on young queer people. Even though its classification as horror holds, the emotional bond between the two main characters, Naim and Ryan, elevates the story into a realistic romantic drama on par with Eternal Sunshine of the Spotless Mind.