The film follows the migration strewn with pitfalls of Chinese crabs, imported from China by accident at the beginning of the 20th century, which are born in the North Sea, go up the rivers of Flanders to grow there for a few years, and return to the sea to reproduce and die. The director uses a big range of forms and approaches, including slapstick, to build these crabs’ lives into an existential metaphor, which expands the method she already mastered in the previous film Dans le regard d’un bête. A modern poetic parable, between reality and fiction, open to the fragmentary diversity of reality.
'An American Werewolf in London' possesses a possible queer reading in the way it envisions a heterosexual romance being undone by the presence of a creature who embodies self-contentment in the face of social alienation.
I'm bad, and that's good. I will never be good, and that's not bad. There's no one I'd rather be than me.
Treated like a granter of wishes for those earning out of retelling the same tragedy, Marilyn looks like she's caged in different stages of trauma for us to stare at, instead of someone we’ve finally allowed to rest in peace.
'Jungle Cruise' is fun if you can ignore the racism of the ride it’s based on and the film’s bland, stereotypical characters.
White audiences saw Peola’s mixed-race passing as a Black woman’s struggle to be white. Black audiences saw it as the rebellion of a Black woman trying to gain privileges only given to white people.
While Peter’s heroics might have been a bit unrealistic at times due to his lack of experience, I will always support the civilian taking down the establishment.
