After the coup d'état on September 12, 1980, a husband and wife wanted for political crimes decide to flee abroad. But their children are the biggest obstacle to this plan. Before fleeing abroad, they search for a safe place to leave their children. The couple finally chooses Mehtap Anne's home as the "safest place" for their children. The place where they left their children is actually the "Emanetçi Anne" house, where Mehtap, a former prostitute, takes in the children of other prostitutes who continue to work in the trade after she has left it... Some time after the couple flees abroad, they send an Italian girl to Turkey to retrieve their children. The Italian girl, who wants to take the child left with the "Emanetçi Anne" and bring it to its parents, finds herself caught up in a series of interesting events.
A lonely little Hawaiian girl and her mischievous blue alien friend form a bond that heals both of their hearts, as well as ours. This live action version adds emotional nuances—notably in the sisters’ dynamic—while preserving the charm of the original.
Attack of the Killer Tomatoes: Organic Intelligence is not merely the fourth sequel in a cult classic film about a delicious vegetable apocalypse: it’s a love letter to slapstick, sight gags, and the original 1978 film. It’s also a meta-comedy, spy-thriller parody taking place in a world where the original film series was a documentary about the horrors of the Tomato War that the government covered up by convincing everyone it was a comedy. Taking place in 2026, Organic Intelligence sees genetically modified tomatoes grown out of control and rising up to attack humanity again - luckily, Agent Maria Sifuentes (Myrna Velasco) of the Federal Vegetable Investigation Bureau is there to uncover the corporate conspiracy behind it, and she won’t take no for an answer.
We can criticize depictions from old media, but they weren’t simply “good for their time”. They were fighting and struggling in a world we can’t imagine.
It’s not often in America that you turn on the TV and see a show or a movie with a Muslim protagonist. And when they do, they're usually a negative stereotype. Ms. Marvel changes all of that.
The differences in these films could not be more blatant, and yet Gus Van Sant has found a way to portray the same messages and use the same techniques in each.
Fjord, like its story, is not a conclusion, but a beginning.
