Nuraini gives birth to her baby earlier than Kartini. Then she makes the mistake of taking her baby out of the nursery to breast feed without the nurse’s permission. Kartini then becomes suspicious because her baby has thin hair and wide forehead, while the baby on her side has thick hair. Kartini and her husband, Suripno, are sure that the baby has been switched. They report this to the nurse. Nuraini disagrees and insists that the baby is hers, especially because she has a birth certificate from the doctor. The problem is taken to court and Nuraini is found guilty.
Overall, Matthias & Maxime doesn't reinvent this romantic concept. But it also doesn't need to. Dolan weaves a story of love, friendship, and life that is both realistic and bittersweet. The film is nuanced and sensual in a way we don't get to see often with LGBTQ characters. It's a film that we can celebrate.
True crime media is notoriously obsessed with the “missing white woman” trope, and yet the vast majority of American murder victims are male, and well over half are people of color.
Hope has great characters, inventive ideas, an incredible imagination, a palpable intensity, and numerous other aspects that make it one of the best of the year.
This current year, as well as the past several, has seen a slowly building increase in something the horror genre has required for quite a while in this critic's opinion...originality. I've stated before that I am very hard to please when it comes to this vein of the film industry's offerings, always leaning more towards that which sends chills through my very being in lieu of buckets of blood and gore.
Initially feeling like a passionate group having a bit of harmless fun with filmmaking, it leads to something sinister enough to leave a mark.
This emotional, frightening, and dreamlike story examines the ways actresses are exploited in the name of art.
