No Other Choice: Killing for the Family at the Age of Obsolescence
With the theme of unemployment, it presents a family fantasy anecdote rather the a comment on social problems.

In the coastal city of South Australia, undercurrents surge beneath the neon glow. Hot-blooded cop Zheng Yi witnessed his partner Zhang Mingzhi die shielding him. The corrupt police department even framed Zhang as a mole. With his faith shattered, Zheng Yi quit the force and took violent revenge on drug lord Qian Jiu. Just as he was about to kill his enemy, he found that Zhang Mingzhi was actually alive, having long been bought off by Qian Jiu and faked his death. The once life-and-death brothers now stand across an abyss of betrayal. Hunted by drug traffickers, abandoned by the police, and with their loved ones dead, the estranged pair are forced to put aside grievances, launch a solemn counterattack against darkness with their broken bodies, fulfill the final redemption of brotherhood with their lives, and tear apart the drug web shrouding the whole city.
With the theme of unemployment, it presents a family fantasy anecdote rather the a comment on social problems.
Documented human suffering is never easy to view or read about and is understandably triggering for many people, but it can be educational, and education is a key to change. An overwhelming amount queer people worldwide (and in my own country) have it far worse than I could imagine, and documentaries such as Welcome to Chechnya bring issues to light that certain groups of people would never see.
If “Good Time” was a lean exercise in suspense, “Uncut Gems” is an ongoing panic attack. It handcuffs us to an immoral man, made up of selfishness and unreliability. At every point, Adam Sandler connects himself to this idiotic soul, unearthing the misguided opportunism that comes with gambling addiction
Many have interpreted Maya Deren’s Meshes of the Afternoon as a dream sequence, but what if the repetitive scenes we are given are not dreams but, a time loop.
Gay representation is out there, but to portray a character who's gay as a big, happy brute is a rare treat.
Lin-Manuel Miranda's Tony-winning musical translates beautifully to the screen.