Nana is 19 and lives in a corner of Tokyo. Her birth mother and Marin, a girl the same age who she loves, were the only people she could trust. Nana confronts them in her yearning for love, but the world does not give it to her. With her whole life ahead of her, Nana struggles, suffers, and begins a search for the true meaning of love.
Facing the world with our fair share of uncertainties and/or apprehensions, many of which, sadly, may be well-founded, is nothing to sneeze at. Influenced and buffeted by the constant barrage of social media, fake news, and general upheaval present in our contemporary reality, what IS real and what's not becomes a blur.
'Legally Blonde' remains a standard of feminist filmmaking over two decades after its release, although its poor treatment of racial and sexual minorities make it a product of its time.
"The Old Guard" doesn't break ground, but it sure does bust boredom and fictional heads as an entertaining action romp on Netflix.
It only seems to prove that when the company had their backs against the wall and needed an all pleasing, generic movie that had to make up for The Last Jedi, they chose to sacrifice almost everything that made their main protagonist interesting and that made her stand out as the strong female character that a generation of young movie goers was supposed to look up to. Instead, we were left with a Rey that was so much less than she could have been. And I guess that’s the real story of Rey and The Rise of Skywalker; they could have been so much more, but they were just more of the same.
Zombie apocalypses have been metaphors for late-stage predatory capitalism, but never a system disrupter that brings about freedom.
It is a truth universally acknowledged that a single woman will be happiest if she marries a man with a good fortune, similar upbringing, matching attractiveness levels, and compatible politics.
