A 35-year old man, just released from jail, decides to make a clean break from the big city and his troubled past. He retreats to the abandoned village his father came from and moves into an old, collapsing house. Alone, far from the bigger village and doing petty jobs to survive, he will strive to find himself once more. Amidst a haze of suspicion and scorn by villagers who treat him an intruder, his past catches up to him in the form of his girlfriend from Athens. Conflict is inescapable
We, the Jane Austen aficionados, are suckers for everything and anything under the sun that’s remotely related to her and her world. That’s because we are so drawn to her unique style of fiction, romance, and social commentary, we take any allusion to her influence as a hint to what to expect when we start watching a movie or reading a book.
Over the last several years, I have had the privilege of being one of the critics having the opportunity to watch and review several films from writer/director/producer Marcellus Cox, whose efforts are never anything less but grounded, relevant, and steeped in unflinching glimpses illustrating the gripping, inspired, and ever-vacillating realms that make up the human condition.
David Fincher is back in his playpen, with a dark and chilling thriller.
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.
The shattering of what we strive to maintain as reality. It is certainly truthful to state that most, if not all, of us have experienced moments of genuine mental stress. Regardless of what might be the cause, the sheer unsettledness, the pressure that weighs upon us is a tangible force that CAN seem insurmountable. However, more often than not, this is only a temporary , one we can come through and simply move on from.
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.
