
A traditional bar mistress in Kyoto clashes with her Tokyo rival.
It’s the most loving tribute to cinema and to Ingmar Bergman, set in world that feels so habitable that I felt like only re-watching this for eternity, because of how inviting it looks and feels.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.
The quiet ache of guilt sitting at the dinner table, the silence after a truth is buried, and the way pain is passed down like a name.
A gentle coming of age story, Water Lilies takes its time in exploring what it’s like to be a young girl trying to make sense of her sexuality in a heteronormative world.
This is ambitious horror filmmaking, and in a lot of ways, I fully admire its ambitions. For me, the film’s sloppiness defines its overall quality.