'La Loca Y El Feminista' (MiamisFF Review): A Necessary Dialogue
She is being made to justify why she doesn’t believe he’s a feminist, instead of him having to justify his choice to claim he is one.

A burned-out office worker discovers a hidden passage to a vibrant bar where he’s effortlessly loved and admired. As this secret escape transforms his confidence and identity, he begins to change in his real life too, forcing him to confront a difficult choice between staying in the fantasy or fully embracing reality.
She is being made to justify why she doesn’t believe he’s a feminist, instead of him having to justify his choice to claim he is one.
I imagine that it would be a dream job for an actor to play the parts of twin brothers Dominick and Thomas Birdsey in I Know This Much Is True.
People are so much deeper and far more extraordinary than what gender they were assigned at birth.
Nope succeeds tremendously in dealing with higher concepts in an engaging and highly entertaining manner without sacrificing theme or personality.
Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.
For the most part, 'Sweet Girl' recycles tired hyper masculine revenge tropes, but a surprise twist in the end turns it into a female-centric revenge film.