A short comedy-tinged drama set in Prague. 26-year-old Šimon is going through a rocky divorce. Things get interesting when he learns that his ex-girlfriend Johana, who he still pines for, has started dating a trans woman. At first his best friend Jáchym lends support in the form of parties, drugs and alcohol, but then he finds a girlfriend and falls in love, leaving Šimon to deal with the situation all on his own. One wild New Year’s Eve, Šimon accidentally winds up at a gay bar; later, waiting for the metro home, he hatches a plan to sort things out.
Love, Simon (2018) based on the book “Simon vs The Homo Sapiens Agenda” (by Becky Albertalli) is a teen LGBTQ+ rom-com with themes of longing to find others with similar struggles, and ultimately is a story of acceptance of identity from those around you, and most importantly, from yourself.
I can say without question, that this is the first movie I’ve ever seen where art imitates life so much that I could 100% identify with it on a personal level. The predominately Black cast of characters are people with hopes, dreams, fears, and ambitions.
Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.
Released on Netflix this last July, Mile End Kicks, catches the eyes of those who are wanting to escape the disasters of 2026 and visit the era of peak Tumblr, unforgettable music hits, and iconic fashion trends—-of 2011. This coming-of-age film directed by Chandler Levack succeeds at portraying an accurate representation of what life was like in the early 2010’s.
A film about family and sacrifice... and carnivorous locusts coming after you.
