After a night of heavy drinking, Jeanne and Deb take an empty road through the backwoods to avoid traffic where they unexpectedly hit a mysterious woman that quickly vanishes into a field. Plagued with guilt and unable to go to the police, the girls decide to investigate with the help of some friends. But when their peers start to die or inexplicably vanish, it becomes clear that a bigger, sinister force is at work as Jeanne is thrown into a bizarre conflict with the undead and a sinister voodoo priest with malicious intentions.
My Beautiful Laundrette is often referenced as a positive LGBTQIA+ film because our two main characters are in a homosexual relationship with no shame, fear of violence or criticism. The struggle is not their sexuality. It is the treatment of the Pakistani citizens in England.
'Rag Tag' encompasses the diversity within the African Diaspora by showing London Nigerian men learning to regulate their emotions while navigating love and societal pressures.
The quiet ache of guilt sitting at the dinner table, the silence after a truth is buried, and the way pain is passed down like a name.
Over the last several years, I have had the privilege of being one of the critics having the opportunity to watch and review several films from writer/director/producer Marcellus Cox, whose efforts are never anything less but grounded, relevant, and steeped in unflinching glimpses illustrating the gripping, inspired, and ever-vacillating realms that make up the human condition.
The cancelling of these series is being blamed on the writers' strike and low viewership, but it's just the latest example of the industry's lack of appreciation for stories about queer women.
