The Swap is the third chapter of the PolEc Trilogy, comprising Wandering Marxwards (1998) and The Three Failures (2006). It features the same character as in the previous episodes, but now reduced to a lost, exhausted soul roaming Shanghai's cityscape from the remotest periphery to the financial district. Another narrative, spoken this one, takes us to September 2008, as gigantic bailouts put the financial system on life support instead of letting it collapse, thus seizing our reality and replacing it with a fiction tailored for the situation. These two streams end up meeting on a Shanghai dancefloor, where unresolved contradictions can finally be performed.
With This is Us now on its fifth season and A Million Little Things on its third, we have a lot of material to entertain the hypothetical: if these two shows got in the ring together, who would come out victorious? Despite the endless recognition for the former’s success, I dare say I’d put my money on A Million Little Things once all is said and done.
On top of the phenomenal acting, and great dialogue between the two characters, the cinematography was ravishing! The sound was outstanding! The production design was simple, yet intrinsic. The minimalistic approach in the Malibu beach house represented how little they really have going on in their relationship. The storyline may have been much simpler than "Who's Afraid of Virginia Wolf," but all the more insightful, and much more animalistic at its core.
Based on the fairy character from previous movies, this fantasy movie gives viewers magic.
The multifaceted musical represents America in the 1960s and the battle against bigotry as an ensemble cast portrays how to fight for the limelight.
With mismatched eyes, a willingness to experiment with hair color and style, and a rail thin frame, Bowie always drew attention. But he shunned gendered attractiveness, creating his own space somewhere in between. This hallucinatory and often nonlinear 2022 documentary is a perfect salute to David Bowie’s life and career. Rather than interviewing those that knew Bowie, the standard convention for biographical portraits, director Brett Morgen mostly lets the artist’s images, performances, videos, and words speak to capture the essence of the artist. Bowie was more than just a pop star. He painted, sculpted, acted in films, and was a thoughtful and articulate person who gave sincere answers to even the most shallow interview questions.
Diana’s spirit has taken off, ‘No right, no wrong, no rules for me.’ And in that moment, as she runs on the screen, she gets it, her ‘Let It Go’ moment.
