"If it’s between girls, it doesn’t count, right?" Bound by the idol industry's ban on romantic relationships, two frustrated performers find solace in each other. Their passion erupts behind the scenes—after concerts, during handshake event breaks, and even in hotel rooms on their national tour. In each stolen moment, they indulge in raw, wet-tongued intimacy, exploring a private world of desire far removed from the polished image they present on stage. A vivid portrayal of female lust and emotional release within the constraints of idol culture.
Through its morbidly humorous storytelling, Wednesday tells a tale of a world divided that explores the manifestation of generational trauma in its protagonist Wednesday Addams.
A refreshing twist is that all the kids’ powers are…kind of useless. There’s a kid who can only move in slow motion, a kid who has every power in the world but can only use them randomly, and our main character Missy who has no powers at all. The thesis of the film seems to be that it doesn’t matter what kind of powers you have, its the way you use them, which is good for the warm and fuzzies.
It’s been awhile since I’ve seen a film that is jarring within the first five minutes. Being at the edge of my seat from the very beginning made me feel both excited and frightened for what was to come, and it did not disappoint. Led strongly by Jennifer Lawrence as Grace, a woman trapped in the “American dream”, this film shows that society tells us what should make us happy. Many critics describe Die My Love as being about post-partem depression, but it is so much more. After moving to a secluded home with her husband Jackson, Grace finds herself in the throes of motherhood. Feeling isolated in her physical environment and her romantic relationship, Grace suffers psychologically. Lawrence brings a sense of rawness and humor to the screen that is often uncomfortable. Robert Pattinson adds to the discomfort as her loving, yet lost husband Jackson, who cares about his wife but does not know how to help her. Lynne Ramsay has presented a film that forces us to look at the realness of life, and what happens when the promise of what should make you whole fails.
A recent look at gender and racial diversity in film shows some signs of progress. However, white men still make up the vast majority of actors and directors in top-grossing films.
Two movies that do a fantastic job in conveying the ongoing struggle for racial justice are Selma (2014) and Just Mercy (2019).
The idea of Rosemary's baby but with lesbian partners drew me in, and I was anticipating what the film had in store with its reimagining. Unfortunately, it all felt a little too vague to leave an impact.
