'La Loca Y El Feminista' (MiamisFF Review): A Necessary Dialogue
She is being made to justify why she doesn’t believe he’s a feminist, instead of him having to justify his choice to claim he is one.

Two bodies are recovered in a reservoir. They are of a married couple who now leaves behind two orphaned young adult children. When Angela, the cop tasked to investigate the deaths, breaks the news to the couple’s daughter Connie, Angela is stunned. Not only does the cool and undeterred Connie already know about the deaths, she claims she’s responsible for them. So begins the mystery, but also the relationship between confessor, whose tragic backstory we learn about in flashbacks, and her investigator, who has parental troubles of her own.
She is being made to justify why she doesn’t believe he’s a feminist, instead of him having to justify his choice to claim he is one.
This delightfully odd horror movie presents a whimsically strange alternate reality to younger audiences.
Some people’s first introduction to Mira Nair might be as New York mayor Zohran Mamdani’s mom. But with her insightful direction of 1991’s Mississippi Masala, Nair shows how much she deserves to be known as an artist. Delivering a nuanced portrait of a romance between a Black man and an Indian woman living in the South, Nair explores the complications each character faces, giving both equal weight.
We got a movie that takes the old school approach of trying to creep you out with chilling atmosphere more than anything else.
Even without the messaging, Mercy does not hold up as a movie. It's sloppily done and the mystery doesn’t tie together at the end.