Stranger Than Fiction (2006)

“NiuNiu” was a 5-minute treasure. The film is a powerful narrative encompassing a theme that many people can identify with. On top of that, this is accomplished with almost no dialogue.

Our leading lady, Nani Strides, displays subtle emotions to tell the story of a woman who has trouble connecting with others. As an introverted individual, I can identify with the situations she finds herself in, such as attending a group gathering only to end up people-watching. In the world we currently live in, with COVID isolating many of us from our loved ones, this will likely hit home with many audience members — especially those who would sooner seek solace in their pets than show weakness to other people.

The film is beautifully shot, and in looking at the IMDB credits (this film is listed under “Mina”) I notice the background actors and the artists behind the scenes are a very diverse group, which is lovely to see. I would also like to point out the simplicity of the sets. This allows the performances to shine through, especially that of the snail, who is clearly a cute little Oscar winner in the making.

My only wish-list item would be that I would have loved to see a bit more representation situationally of the lead’s struggle to connect with other people. Without the synopsis, I may have missed this, which is a core part of why this story attracts an audience with similar struggles.

Working this into the overall character arc would have been the cherry on the cupcake for me, however, “NiuNiu” was still a very heart-warming film. Well done team!

How to describe Todd Haynes’ 2015 Carol? The 1950s lesbian romance is stunning, emotional, restrained, and, simply put, one of the best movies I’ve ever seen depicting a woman-loving-woman (WLW) relationship. The story, focused on innocent Therese Belivet (Rooney Mara) and sophisticated Carol Aird (Cate Blanchett), beautifully delivers a romance that is characterized by longing, loss, and love.

From the moment that Carol and Therese first catch a glimpse of each other from across a crowded department store around Christmas-time, it’s obvious that they will form a connection. On the surface, their interaction is nothing special — Therese sells Carol a toy train set. However, there is a lingering note of flirtation underlying the entire scene that just begins to hint at the subtle intensity that is itself one of the most striking elements of Carol. Some of its most passionate moments are conveyed through a simple glance, a hand on a shoulder, a smile.

The stunning performances in the movie add greatly to this quiet emotional intensity. The innocence of Mara’s Therese contrasts perfectly with Blanchett’s Carol, who is achingly elegant. You can feel both of their emotions through the simplest shift in their facial expressions.

I would also be remiss if I weren’t to mention the beautiful atmosphere of the movie as a whole. The 1950s settings are lush, from a bustling New York City around the holidays to Therese’s simple apartment, to Carol’s grand home, to hotel rooms with varying degrees of stunning richness, to their decor. The soundtrack that underlies it all contributes to the viewer’s sense of the time period and swells at all the appropriate moments to add passion and intensity to its scenes.