Kuba and his 3.5-year-old daughter Emilia crash land on a desert planet. While Emilia explores the new world, Kuba tries to repair the rocket listening to the noises from the space, including hypnotic sounds of a black hole. In a parallel, realistic thread, we meet Jagoda, Kuba's partner and Emilia's mother, who suddenly ends up in hospital. Through the messages exchanged with her close ones, we follow the story of her battle with an illness. Meanwhile, on the planet, Emilia discovers life - a land of fantastic flowers. When a black hole comes close to the planet, Emilia rescues Kuba by taking him to a fairy-tale world of a child’s drawings.
From its visually stunning opening credits, which show women dancing through a forest to musical rhythms that sound almost primal, to its quiet, heartbreaking final frame, Mona Fastvold’s historical rendering of the Shaker religious movement is an experience that will stay with me for a long time.
"Thunder Road" presents the grief that comes from a family member taking their own life.
There’s been a longstanding criticism of sci-fi films about its lack of Black characters. For the past few years, Anthony Mackie has been successfully representing Black masculinity in the otherwise homogenous genre and I am here for it.
There’s no two ways about it — Bridgerton is horny. Shondaland’s newest venture- released on Netflix on Christmas- is certainly a spectacle to behold, just as the premise; essentially an Austenian, Regency-Era Gossip Girl, helmed by Shonda Rhimes, the reigning queen of steamy romance television. It would not be inaccurate to describe it as Jane Austen porn.
A strong representation of African Americans in this film features evil spirits and horror-themed elements.
Few movies deal with aging (particularly aging women) with as much compassion as Relic does. Yet it’s not sickly sweet and not a soapbox rant against ageism. Relic simply is, allowing the horror to seep in quietly and carefully.
