Monster (2023): When the Truth Is Not in the Telling but in the Seeing
Not every silence is empty. Some are filled with things too heavy for words.

When a storm washes a canoe bearing an infant boy ashore upon a small South Pacific island, he is at first well-received as a gift from the heavens, even to the point of the tribal chief adopting him as a successor. However, with time as hardships are blamed upon Tama (as he is named), he is finally outcast to live with the poorest people on the island, Mahana and her drunken father. Mahana is considered homely and undesirable, but Tama feels differently, so when he is old enough to build a craft to sail away, he vows to return for her one day. A lucky stroke brings him to land upon the island of the legendary Johnny Lingo, the wealthiest trader in the islands, and after years of service to him, Tama has learned much about life and himself as he dreams of honoring his pledge to Mahana.
Not every silence is empty. Some are filled with things too heavy for words.
What can I say about this Will Ferrell/Julia Louis-Dreyfus-led “dramedy?” Well, the comedy part of Downhill is completely non-existent. And I should have known that the film was a flop when I walked into an empty theater at a prime time on a Friday night.
With the theme of unemployment, it presents a family fantasy anecdote rather the a comment on social problems.
The Mandolorian has a more nuanced and commentative take on masculinity that refrains from praising the toxic traits associated with the social category, while also showing a more positive and transformative representation of masculine characters.
A family drama is woven with quiet yet powerful forces of words and nature.