Storm & Starfire Colorism
How closely does an actor need to resemble a character or historical figure in order to portray them on the Silver Screen? Seems to depend on color.

Award-winning filmmaker and writer Sylvia Hamilton painstakingly unearths the story of the children, women, men who were students and teachers in Canada’s racially segregated schools in The Little Black School House. The film is a compelling illustration of how many of the students who attended Canada’s all-Black schools look back on the experience with conflicted feelings: fondness for the dedication of their Black teachers, and outrage at being denied a right, fundamental to democracy in Canada: equal access to quality education.
How closely does an actor need to resemble a character or historical figure in order to portray them on the Silver Screen? Seems to depend on color.
'Don't Breathe 2' is a sequel that forgoes almost everything that made its predecessor good, and asks audiences to root for a rapist on top of that.
CODA' is about a child of deaf adults torn between staying with her parents and her dreams of pursuing music. This film is a step forward for deaf representation and disability in movies despite negative messages about the burden of actors deaf deafness.
As this critic continues to look back at some of this Summer's films I have taken in, I would be remiss if I didn't mention one of the most overall unsettling trends in Hollywood over the last several years.....sequels, reboots, and remakes. Look, I am all for seeing more than one film for certain originals that made a splash, ie: "Jurassic Park", "Pirates of the Caribbean", "Transformers", etc.
An anti-war film denouncing the valorization of senseless violence, 'All Quiet on the Western Front' is (unfortunately) all too relevant in 2022.
Perhaps the most amazing and groundbreaking quality about The Birdcage is how removed it is from both illness and insensitivity. Whereas films preceding it were often somber stories about the tribulations of being gay in a conservatively straight world, Nichols and screenwriter Elaine May expose the fallacies of conservatism as traditional values are thrown into a more open-minded space. They don’t care how far the community has fallen so much as how high they can rebuild themselves.