'Ripples Under the Skin' is a story of contestations - contestation of space, resources, claims, narratives... of a community struggling to carve out a living out of a dying profession contending with a city that both embraces and marginalizes, of a profession that thrives of supplying water to homes... water that doesn't discriminate yet over whom many wars have been fought... wars of caste, class, religion... of muslim migrant workers supplying water to homes that are inviting and uninviting, of homes that they are sustained over the labour of these people, yet homes that the same people can never claim as their own, of memory and forgetting, of dreams and spectres... above all, this is a story of struggles.
This is not a slavery story, it is a freedom story. The viewers only see Harriet as a slave for the first few minutes of the film. To me, it felt like watching the origin story of a superhero…which is both good and bad.
Typically in film, characters suffering from mental illness are used as plot devices or exaggerated for comedy. 'The House that Jack Built's representation exceeds in accuracy and realism of OCD.
Throughout the film, Kate desperately tries keeping her status as an influential YouTuber; however, her follower and view count crumble, mirroring the world around her.
'Pariah' tells a powerful, mesmerizing, and unflinchingly honest story of identity.
It’s the most loving tribute to cinema and to Ingmar Bergman, set in world that feels so habitable that I felt like only re-watching this for eternity, because of how inviting it looks and feels.
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.
