Changshin-dong. People live along a narrow passageway. And there lives an old woman named Lee So-sun which means a small fairy. Ever since the death of her oldest son, Jeon Tae-il, she always lived sympathizing with the pain and sword-like life of her neighbors. Lee So-sun was the mother of all who waited for a 'humane world', standing straight in the world having no fear of anything. Young artists Baek Dae-hyun and Hong Seung-hee express the pain Jeon Tae-il and his mother Lee So-sun had to endure through their performances. What would be the meaning of Lee So-sun's life to these two artists who beautified all her pains in life? This work is about the final message left by the 'mother'.
Welcome to the first episode of the Incluvie Movie Highlights! We shine a spotlight on our favorite new movies that stand out for diversity and identity. Is Everything Everywhere All at Once too weird, or just the right amount of weird?
Adventure Time, Legend of Korra, Steven Universe, The Loud House, The Hollow, OK-K.O.! Let’s Be Heroes, The Dragon Prince, etc!
'Motherless Brooklyn' is a 1950s whodunit made by its star, Edward Norton. Like most detective films in this setting, the cast is mostly white males (with a few notable exceptions).
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.
The Mandolorian has a more nuanced and commentative take on masculinity that refrains from praising the toxic traits associated with the social category, while also showing a more positive and transformative representation of masculine characters.
Some people’s first introduction to Mira Nair might be as New York mayor Zohran Mamdani’s mom. But with her insightful direction of 1991’s Mississippi Masala, Nair shows how much she deserves to be known as an artist. Delivering a nuanced portrait of a romance between a Black man and an Indian woman living in the South, Nair explores the complications each character faces, giving both equal weight.
