
Frederick Salomon, a war photojournalist who became worldwide famous for capturing the image of a girl flying through the air as consequence of an explosion, returns to the country where he took the celebrated picture twenty years before. He is back to receive an award, as many consider him an essential piece in the recent peace efforts in the troubled country. But a local journalist called Hanna doesn’t agree, and wants to kill him for a reason only Salomon knows.
Many have interpreted Maya Deren’s Meshes of the Afternoon as a dream sequence, but what if the repetitive scenes we are given are not dreams but, a time loop.
Even after a history changing event, the 93rd Oscars proved it always had the space for more inclusivity in its award ceremony. But it this enough to change the boycott?
It is as bad as your remember, and you are fortunate if you've never watched it. Keep it that way!
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.
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.