'Kizazi Moto: Generation Fire' - Mhkuzi: The Spirit Racer
The second episode of the highly anticipated Afrofuturism series delivers with a high-speed race teaching us to go far beyond just accepting ourselves.

How many times can we change our life? How often are we willing to follow our nature to the fullest? To what extent do we know how to listen to ourselves and relate to others, different, but equal to us in depth? Simone (Simon in Italian) was born with female genitalia and he always felt himself as being male. He started questioning his gender since his childhood but as a teenager that conflict became unbearable. This journey led him to achieve a new, crucial stage: transitioning from woman to man. At the age of 40 Simone realizes that despite the sex change, still he does not feel happy at all. A reverse journey was needed from the inside. He quits a job that he didn't like and decides to move from his native Caserta in Southern Italy to the Umbria region, in Central Italy, in order to learn to love himself and get rid of his cages. Simone understands how to pursue his own freedom through a deep contact with Nature: his and that of others.
The second episode of the highly anticipated Afrofuturism series delivers with a high-speed race teaching us to go far beyond just accepting ourselves.
Life may find a way, but is it worth testing its fierceness and how far it will go?
As this critic continues to look back at some of this Summer's films I have taken in, I would be remiss if I didn't mention one of the most overall unsettling trends in Hollywood over the last several years.....sequels, reboots, and remakes. Look, I am all for seeing more than one film for certain originals that made a splash, ie: "Jurassic Park", "Pirates of the Caribbean", "Transformers", etc.
The genres of science fiction and fantasy are not exclusively masculine territory. Over the last few decades, female directors have brought to the screen some of the most visually stunning, intellectually daring, and deeply moving works of speculative fiction. From big Hollywood productions like Wonder Woman and Captain Marvel to independent low-budget films, women filmmakers are making a name for themselves around the world.
Ruben Östlund muses about his characters, “As soon as you get close to a person, you see them as just another human being”. It is widely recognized that aboard the luxury yacht in ‘Triangle of Sadness’, the different groups of people represent a small society as a commentary on classism and gender binaries.
Netflix’s new comedy drama, Don’t Say Good Luck, is a heartwarming tearjerker as well as a love letter to the transformative power of being a theater kid. Directed by Julia Hart, Don’t Say Good Luck follows Sophie (Sunny Sandler), a theater kid who finally gets the lead role in her school’s production of Waitress - just as she finds out her mom Elizabeth (Melanie Lynskey) is dying of cancer. While the singing is by no means spectacular and Sandler’s acting is stiff, the film is grounded in the moving performance of Lynskey as a mother who wants nothing more than for her daughter to achieve her dreams, even if she can’t be there to see them.