The Love Triangles in 'Tall Girl'
In Tall Girl, Jodi learns to stand tall and find confidence within.

“The Singer: A Montford Point Marine” tells the story of Henry Charles Johnson, one of the first African Americans in the U.S. Marine Corps and a professional crooner. Lured by the dignified Marine uniform and the allure of the G.I. Bill, he's abruptly thrown into the bare, segregated world of Camp Montford Point, a far cry from the lush expansiveness of Camp Lejeune he'd imagined. The harsh realities of Southern segregation strike a jarring contrast to his accustomed diversity of Manhattan, escalating further with hostility from drill instructors. Undeterred, his resolve is galvanized by the dream of donning the Marine uniform and the prospects following discharge. Post-discharge, Johnson immerses himself in New York's music scene, enchanting audiences with his soulful, Sinatra-esque timbre. This riveting narrative portrays the unmatched fortitude of the Montford Point Marines, representing a crucial African-American, American, and globally relevant human experience.
In Tall Girl, Jodi learns to stand tall and find confidence within.
What starts off as a success story for a single mother living below the poverty line, slowly begins to weave itself into a tangled web of greed, guilt, and destruction.
Rather than focusing on the bleak, cynical aspects of life post-pandemic, the focus is optimistic and hopeful.
The trouble with Yara (2021) is that in its attempt to tell the whole story, it struggles to tell a consistently engaging story.
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.
I understood post-memory as passing down stories and images of one’s experiences that are not your own. For decades, rape has been depicted in cinema through a third-person perspective, leaving the viewer to observe rape; not to experience it.