A small white creature travels across a sea of sand in a boat made of a discarded map after dreaming of an island shrine. He is carrying a precious white cloth pod sewn up with red stitching. On his journey, he meets a trio of gem-mining island-dwellers who are keen to have the pod for themselves. As he makes his escape from them, he encounters a ferocious blue sea monster that intends to drag him down under the sand to its lair. The island-dwellers remain in hot pursuit, crowded into a teacup, rowing with a silver spoon.
Eventually, “Hobbs and Shaw” introduces us to a Samoan community. Clearly, Johnson’s Samoan roots are on display. Quite frankly, I found this section of the film very intriguing. The “Fast and Furious” franchise has a solid track record in the diversity department
A film loosely based on the fairy tale Hansel and Gretel, with major twists to the original story.
'Motherless Brooklyn' is a 1950s whodunit made by its star, Edward Norton. Like most detective films in this setting, the cast is mostly white males (with a few notable exceptions).
Netflix’s Shadow and Bone has a complicated relationship with race. It has a diverse cast, but not without its problems. Based on Leigh Bardugo’s two book series, the show features characters from the Shadow and Bone trilogy, which is very straight and white, and the Six of Crows duology, which is much more diverse. When bringing together a cast and writing about these characters, the team behind the show expanded upon some of the representation missing from the first trilogy, then seemed to take away representation from the duology. Shadow and Bone seems to play a bit of a push and pull game when it comes to portraying diversity onscreen.
A story of a magical dragon brings great representation for Chinese culture.
When science, Bruce Banner is exposed to gamma radiation from his experiment, he transforms into a gigantic green monster when he gets angry and wreaks havoc wherever he goes.
