The day of the “Event” has arrived and Dalila, Jano, Daph D, Megan, Putricia, Ciara, Barbara and Zodoma, are here to climb on heels higher than the walls of the genre and the identity. Together they will expand the limits of imagination; the makeup will be their war paint and their dresses the armor.
An uncomplicated, family-oriented man struggles to adjust to an ever-changing world, especially after suffering a loss. Even for the early 1900s, a less complicated time in many ways than now, Robert Grainier (Joel Edgerton) is a simple man.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
'Pariah' tells a powerful, mesmerizing, and unflinchingly honest story of identity.
Liar, Liar, Vampire takes a bite out of clichés in romances between vampires and teenagers. Anything but boring and dripping with fun, it's a Halloween story with a twist.
Death on the Nile (1978) film mindless entertainment playing out on sets and wonders larger than the stakes, both of these films fail to live up to the hype of Agatha Christie's mystery. Check out cast & characterless controversy.
Can a piece of bad representation truly be reclaimed? We Are Pat (2025) attempts to answer this question.
