'The Birdcage' is a Fun Film to Watch for Pride Month
The relationship between the characters is what makes this film stand out, and it’s just all-around fun.

Depressed and reeling from the recent death of his wife, Tom has built up quite a gambling debt. He goes to stay with his wealthy Aunt Florence in hopes that she will write him into her will. When a nasty creditor makes it clear that Tom is out of time, he devises a plan with Elodie, the undertaker's daughter, to rob the graves of the rich townspeople buried in the cemetery across the road. After plundering the graves, Tom arrives back at Florence's house and events take a dark turn. Tom begins hearing and seeing strange things that seem to coincide with the deaths of the people he robbed. Even more disconcerting... he appears to be the only one sensing the occurrences. One question lingers: Is Tom's conscience playing a trick on him... or is he really being haunted by those he stole from?
The relationship between the characters is what makes this film stand out, and it’s just all-around fun.
Sorry to Bother You ultimately speaks to the unfair advantages that the country’s power structures award to those with the resources to control others, as Lift’s easy access to the media allows his opinion to be the only one that matters in the eyes of the unsuspecting and easily impressed public. Moreover, it reveals the extent to which the American Dream has any true validity. It postulates how the promise of success and fulfillment as promoted by the American Dream more often than not leads to the undoing of the individual. Interestingly, in its revealing of the American Dream as merely a facade, Sorry to Bother You wisely questions whether or not anything can really be done to undo a system that has been accepted and in action for centuries.
A group of criminal animals tries their best to reform themselves into good citizens to avoid serving time in prison.
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.
Some people’s first introduction to Mira Nair might be as New York mayor Zohran Mamdani’s mom. But with her insightful direction of 1991’s Mississippi Masala, Nair shows how much she deserves to be known as an artist. Delivering a nuanced portrait of a romance between a Black man and an Indian woman living in the South, Nair explores the complications each character faces, giving both equal weight.
Fjord, like its story, is not a conclusion, but a beginning.