Grisel reminisces about her youth through the transformative experience of participating in an independent Argentine film in the 1970s, based on Cortázar's short story "End of the Game." From a set that recreates her memories, Grisel shares objects, letters, and family mementos she still cherishes, and evokes the emotion of playing Leticia, the central character in that now-lost film. Through archival footage and set reconstructions, the documentary explores nostalgia, the passage of time, and the indelible mark that cinema leaves on those who experience it.
Adapted from a 2014 novel by Atticus Lish, Preparation for the Next Life is the feature film debut of documentary filmmaker Bing Liu. With the help of screenwriter Martyna Majok, he paints a realistic and somber portrayal of Aishe, a Uyghur immigrant, as she struggles to make a living while undocumented in the United States.
The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.
A wondrously imaginative, diverse, and spirited allegory of childhood and the arduousness of adulthood.
Battles will come and go and queer people do die for their identity and fights for rights, but that doesn’t mean the gays don’t deserve their happy endings in stories.
I have talked with founder of Red Nation Television Network, Joanelle Romero, and the future of Indigenous representation looks bright.
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.
