A Cowgirl's Song Brings Love and Joy to All
A young girl named Hailey Mays sings a country song that is named after the film's title.

Lost in the Atlantic, the Azores have kept an identity of their own: sea and volcanic mountains, lush vegetation and fields of black lava, a light that changes from one moment to the next. Teresa Salgueiro, the singer of Madredeus, and Pedro Ayres Magalhães, the composer, travel from island to island and find the mixed origins of their music, traces of an imaginary Portugal: traditions that have vanished on the mainland live on here. A landscape, the words of an old man, a village feast call up their songs. Teresa’s voice, with a single guitar, rises on the shore of a still lake. “Madredeus is an isolated case,” says Pedro, “a little like the Azores, lost in the ocean.”
A young girl named Hailey Mays sings a country song that is named after the film's title.
Peppered with whimsical humor, heartbreaking realizations, and heartwarming discoveries, The Incomer is surprisingly endearing through and through.
Perhaps the most amazing and groundbreaking quality about The Birdcage is how removed it is from both illness and insensitivity. Whereas films preceding it were often somber stories about the tribulations of being gay in a conservatively straight world, Nichols and screenwriter Elaine May expose the fallacies of conservatism as traditional values are thrown into a more open-minded space. They don’t care how far the community has fallen so much as how high they can rebuild themselves.
"The Mitchells vs. The Machines" captures the eternal struggle between kids who want to pursue the arts and their practical parents who think they'll fail.
This feels like the creative team wanted to make a body horror film, but the studio wanted to make another generic blockbuster.
“There’s always something you can do…to make people feel like they’re welcome”