Little Pille goes to find her father’s missing socks under the bed, to a fantastical world of forgotten things. There she finds that dad’s socks have laid an egg! Now Pille must protect the socks from danger until the tiny egg can hatch.
From its visually stunning opening credits, which show women dancing through a forest to musical rhythms that sound almost primal, to its quiet, heartbreaking final frame, Mona Fastvold’s historical rendering of the Shaker religious movement is an experience that will stay with me for a long time.
Baggage’s experimental mixed formats visualized a woman’s brave inner journey of visiting the museum of her fragmented memories.
“Candyman ain't a 'he.’ Candyman is the whole damn hive." Candyman represents all Black victims of white supremacy, and this art form narratively conveys it in a succinct, adulatory way, the history of which is rare to find.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.
The fun tricks used in the production design and lighting read extremely well on-screen but hardly fulfill their purpose of trying to inject glamour into a lack-luster story with nothing to say.
