As much about the people who work in Russia's renowned museum as it is about the glorious art works housed in this St. Petersburg institution. We meet with several "Hermitage-niks"—including Olga Bogdanova, the head of museum maintenance, icon curator Alexandra Kostsova, museum attendant Valentina Barbashova, and art handler Vadim Kuptsov, among others—each of whom explains their own very personal reasons for considering the palace of Catherine the Great their "home."
This 2016 winner of an Ophir Award for Best Film focuses on the forbidden romance of a young, Bedouin woman and the ramifications it has for her family, her identity, and her culture.
When most of us think about diversity in film, we usually think about three things: race, gender, and disabilities. However, there is a forgotten topic... age. These are 12 of the best films about growing old.
While it initially sounds nothing like 'Nope,' the focus on recording/sharing everything—especially trauma—for profit makes Hulu's 'Not Okay' similar to Jordan Peele’s newest movie.
The July episode of Incluvie Movie Highlights provides 4 exciting films that have polarizing reviews! Special guest and Incluvie movie critic Daleyna joins in to discuss Mr Malcolm's List, a regency-era film set in England, starring leads of Indian and African heritage (Freida Pinto and Sope Dirisu), which is a first! Don't Make Me Go, starring an Asian and Blasian lead (John Cho and Mia Isaac), is a sincere film with a controversial ending! Don't worry, no spoilers. 1Up, about a team of female gamers led by Paris Berelc, who's half Asian, receives acclaim on Incluvie, but much hate everywhere else on the internet. And the feature film... is Nope ! One cohost thinks the film was imaginative, while the other cohost insists it was boring (but with good social commentary)! Who thought what? Tune in with your hosts: Cathy Yee and Hazel Bolivar!
Supergirl is a decent movie, anchored by great action scenes and a great lead performance
Taika Waititi writes, directs and co-stars in 'Boy', set in 1984 New Zealand. The film does just what Waititi dreamed of — it gave a great coming-of-age story to Māori people without making a story of the Māori people as an exotic other.
