
Paris, 1954. The story of the meeting, known thanks to the fortuitous discovery of a forgotten notebook, full of notes and photographs, between a white British aristocrat, Baroness Pannonica de Koenigswarter, writer and jazz patron, and a talented black pianist, Thelonious Monk, one of the best bebop jazz musicians of all time; a prodigious union of wills that overcame the most extreme prejudices of the very conservative US society.
Eddington attempts to capture how media is intertwined with the uncomfortable present.
Zombie apocalypses have been metaphors for late-stage predatory capitalism, but never a system disrupter that brings about freedom.
‘Barbie’ is an entertaining, meaningful piece of filmmaking with a heartfelt message.
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.
Perhaps the most amazing and groundbreaking quality about The Birdcage is how removed it is from both illness and insensitivity. Whereas films preceding it were often somber stories about the tribulations of being gay in a conservatively straight world, Nichols and screenwriter Elaine May expose the fallacies of conservatism as traditional values are thrown into a more open-minded space. They don’t care how far the community has fallen so much as how high they can rebuild themselves.