Yara (2021): An Unfocused True Crime Narrative
The trouble with Yara (2021) is that in its attempt to tell the whole story, it struggles to tell a consistently engaging story.

Four-year-old Yang Yang lives with his single mother in Osaka. He has not seen his father, whom his Taiwanese mother met while studying in Japan, for months. A picture falls into his hands that shows the three smiling happily in front of a fireworks display. The painted picture brings back memories of the happy days as a family. The film sensitively accompanies the emotional world of the individual family members and accompanies worries and moments of happiness with which one can identify across national borders.
The trouble with Yara (2021) is that in its attempt to tell the whole story, it struggles to tell a consistently engaging story.
A bumpy journey about revolution and family makes us feel fear, disgust, humor, and satisfaction.
True crime media is notoriously obsessed with the “missing white woman” trope, and yet the vast majority of American murder victims are male, and well over half are people of color.
Seriously, and this is coming from someone who was extremely skeptical before giving it a watch. I assumed the show would be painfully boring, but one of the show's strongest qualities is you needn't know anything about the lore to get invested in it.
Cassie, a musician, and Luke, a man serving in the Marines, form a false relationship and keep it a secret.
It’s hard to capture the emotions and thoughts of a character just from a few shots, but Oscar-nominee composer Micachu's haunting melodies prove otherwise in 'Jackie'.