The Door with Seven Locks (1940)

I understood post-memory as passing down stories and images of one’s experiences that are not your own. For decades, rape has been depicted in cinema through a third-person perspective, leaving the viewer to observe rape; not to experience it. 

The newest in a long line of Cinderella adaptations, Amazon’s Cinderella (2021) prizes girlbossification above the very story it tries to adapt.

Between its problematic nature, its lack of originality, and the senselessness of its violence, Onslaught cannot be recommended in good faith.

Netflix’s Shadow and Bone has a complicated relationship with race. It has a diverse cast, but not without its problems. Based on Leigh Bardugo’s two book series, the show features characters from the Shadow and Bone trilogy, which is very straight and white, and the Six of Crows duology, which is much more diverse. When bringing together a cast and writing about these characters, the team behind the show expanded upon some of the representation missing from the first trilogy, then seemed to take away representation from the duology. Shadow and Bone seems to play a bit of a push and pull game when it comes to portraying diversity onscreen.

Asha, the main character, is a biracial woman who discovers the power of magic wishing dust.

Set against the backdrop of the Jim Crow era, the film offers layered representation.