Hitchcock's Subtextual Coding in 'Rope'
Hitchcock is no stranger to innuendo, as was common in that era, but there was something so sophisticated about his approach to 'Rope', and it starts in the first frame.

Reports of a weeping Madonna in Italy reach Las Vegas, where blackjack dealer Maggie has just learnt she has only weeks to live. With a massive leap of faith she convinces herself that seeing the Madonna with her own eyes could lead to her salvation, and travels to Europe to find it. Hitching through Italy, she meets pianist Mike, who is also en route to what he believes could be a life-changing event - a performance at the Barbarina concert in Naples.
Hitchcock is no stranger to innuendo, as was common in that era, but there was something so sophisticated about his approach to 'Rope', and it starts in the first frame.
Wes Anderson offers a light-hearted comedy in the Middle East centering around Catholic motifs.
In the film adaptation, director Jon M. Chu turns each musical number into a massive show stopper, with grand set pieces and a wealth of diverse dancers. Yet, in this attempt to show reverence for the people of the Washington Heights barrio, Chu, or maybe more specifically those in charge of casting, left out a crucial part of the community, Afro-Latinos.
I was able to sit down and talk with the director of the short film Dog Lover Anne-Sophie Bine as she discussed and how she came to be in film.
A few episodes in, I realized the most prominent theme of In The Long Run wasn't culture, race or even finding independence--but the idea of belonging.