In the 2000s, Lorran Dias lives an unprecedented and unexpected experience: she travels by plane with her parents to the municipality of Tamboril, in Ceará (where her mother was born), leaving Favela da Maré. Tania Dias records in photographs the only time she has returned to her homeland since the 1980s and her son's only contact with the place. Twenty years later, in an essay on distance and its transformations, Lorran brings together her mother's memories with reports of the displacement of other northeastern people living in Favela da Maré.
If you enjoy the bizarre, silly and entertaining world of the horror B-movies and want a break from the nuanced and poignant big budget horror releases, I have a list of gore-fests from the last ten years to enjoy this October.
The highly anticipated Marvel superhero movie of the year displays important themes of loss, loneliness, and change.
Where we leave the characters is in such a peaceful and optimistic place. It feels well-earned to ensure everyone gets their own specially-crafted happy ending.
Unlike other documentaries about Princess Diana, Perkins’ film, 'The Princess', is an entire documentary consisting of media coverage and public opinion, rather than a typical series of people interviewed with firsthand experience of the Princess. 'The Princess' beautifully depicts how we perceive Diana as a media figure rather than a real person, specifically creating her persona as a fairytale figure turned saint and icon.
Written and directed by Eva Victor, who also plays Agnes, the main character, Sorry, Baby is slow and artsy, but extremely effective. It shows how the trauma developed after a sexual assault has a ripple effect and loudly echoes in the victim and her life for years after.
I'm bad, and that's good. I will never be good, and that's not bad. There's no one I'd rather be than me.
