The Blues, and Two Contradictory Films That Claim It
Crossroads follows a young guitarist on a journey through the American South in search of blues history and his own voice.

The main character of the film is Ophira (Dina Limon), a drawing teacher, who is retiring. With the daily routine no longer needed, she decides to fulfill a long-held dream of becoming an artist. Ophira asks her husband to clear out one of the rooms in their house to create a studio, and she asks her friend, a renowned gallery owner, to organize an exhibition for her future paintings. Despite not receiving much support from either of them, she starts working on her art. However, it soon becomes clear that Ophira doesn't really know what to paint about. The film explores the refusal to age and the aspiration to understand oneself at any age.
Crossroads follows a young guitarist on a journey through the American South in search of blues history and his own voice.
Written and directed by Eva Victor, who also plays Agnes, the main character, Sorry, Baby is slow and artsy, but extremely effective. It shows how the trauma developed after a sexual assault has a ripple effect and loudly echoes in the victim and her life for years after.
The quiet ache of guilt sitting at the dinner table, the silence after a truth is buried, and the way pain is passed down like a name.
Dead Poets Society relies on patriarchal tropes such as overbearing fathers, contrived brotherhood, and faux-individuality in order to portray its straight white male characters as oppressed.
This modern update of the beloved classic swaps Cyrano's signature pronounced nose for achondroplasia, for a different vision that still retains the original's essence.
Desi Arnaz was an innovator in television and Lucille Ball was a sketch comedy clairvoyant of sorts; 'Being the Ricardos' focuses on their genius as a couple, but shies away from the interracial aspect of their marriage.