10 Shakespeare Films to Watch for the Aesthetic
A collection of the ten best films that captured William Shakespeare’s pathos the best, both for the diversity they bring, and of course “the aesthetic."

29 year-old Melanie is in love with her life in Toronto, but out of love with her long-distance boyfriend. Her breakup throws her easy life into mild existential crisis, but the arrival of a new boy on the scene, Lewis, diverts her attention and helps her rediscover the joys of a lazy summer in the city. Acting as unofficial tour guide, Mel introduces Lewis to her neighborhood. Together they buy Lewis a bike from a crotchety yard salesman, and embark on a two-wheeled urban adventure. But is Mel ready to switch gears? Unsure of her true heart feelings, she and her gang of young, witty friends, enjoy the season's last gasps. Written by Luke
A collection of the ten best films that captured William Shakespeare’s pathos the best, both for the diversity they bring, and of course “the aesthetic."
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I hope that more people will see Joyland, understand the situation, and eventually change themselves and society so we can have a more accommodating world where everyday tragedies like the one depicted in the film do not occur.
After the untimely death of his brother by way of an ambush in Kandahar, Afghanistan, the protagonist, ‘81’(Alan Ritchson) unsuccessfully makes several attempts to become an Army Ranger. On his last mission to complete the Ranger selection process he and his squad encounter an otherworldly ‘soldier’.
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 French-born director Laure de Clermont-Tonnerre’s strategic choice to entrust the interpretation of a conventional, feminine character to a non-binary actor pays off: Corrin’s Lady Chatterley is awkward, edgy, and uninhibited at the same time.