The Mediateca Onshore in Malafo, a village in Guinea-Bissau, is an archive and a club for agropoetic practices. As Amílcar Cabral talks feminism on tape, the directors speak in the mangroves about the contradictions of depicting the community.
It's not love. It's Obsession. The hook of this movie is the tension between wanting to be loved and the fear of being all-encompassed by that love. It plays on men’s typical (though certainly not universal) inner-conflict
In Tall Girl, Jodi learns to stand tall and find confidence within.
In order to learn why an arguably outdated fanfic trope was resurfacing in the contact zone of popular culture, I dove into a vibrant trough of character development.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.
'Do Revenge' offers a 2022-relevant sociopolitical commentary that decries virtue signaling while promoting the inclusive virtues the nefarious power structures exploit.
For the entirety of Raiders of the Lost Ark, Marion remains in full control of both her body and her personality, a rarity for female characters at the time of the film’s release. She’s granted depth with personal demons from her past and emotional vulnerability when the situation deems it appropriate for her to grow alongside Indy. She avidly rejects the notion of being anything other than a sassy, humane rebel, and Indy’s equal in every way. This she does while still maintaining her femininity.
