Director Nils Petter Löfstedt turns the camera towards a profession he has been part of himself, trying to depict the crucial work in care that rarely appears in work plans and is never the basis for various calculations or schedules. It's about consideration and respect, the interpersonal and circular work that constantly happens in the moment at preschools, nursing homes, and home care services, but which is not attributed its actual significance. The Unmeasurable not only points out flaws in society's view of care but is also an initiated and deeply touching portrayal of various workplaces and a working class dominated by women.
So with the recent (rightful) public apologies to Britney from comedians and media for trashing her image in the 2000s, perhaps some people should also give Crossroads the fair chance it deserves. It won't be everyone's cup of tea, and that is fine. Personally, I will take my girl Britney and her movie, over the next testosterone "Dude Flick" any day.
Animation as a medium of storytelling can be thought to be open to all ages and as I hope my readings will reveal, they could be interpreted as transgender stories.
Netflix’s new comedy drama, Don’t Say Good Luck, is a heartwarming tearjerker as well as a love letter to the transformative power of being a theater kid. Directed by Julia Hart, Don’t Say Good Luck follows Sophie (Sunny Sandler), a theater kid who finally gets the lead role in her school’s production of Waitress - just as she finds out her mom Elizabeth (Melanie Lynskey) is dying of cancer. While the singing is by no means spectacular and Sandler’s acting is stiff, the film is grounded in the moving performance of Lynskey as a mother who wants nothing more than for her daughter to achieve her dreams, even if she can’t be there to see them.
Director Dana Ziyasheva made her directorial debut, 'Defenders of Life' which focuses on the Ngäbe community, and the hardships Ngäbe girls faced in Costa Rica.
In the film adaptation, director Jon M. Chu turns each musical number into a massive show stopper, with grand set pieces and a wealth of diverse dancers. Yet, in this attempt to show reverence for the people of the Washington Heights barrio, Chu, or maybe more specifically those in charge of casting, left out a crucial part of the community, Afro-Latinos.
There is a lot of controversy around Q-force. It’s certainly not hard to see why—the series is quite hyperbolic. I will say, that was the first aspect I noticed on my initial watch. Right from the get-go Q-Force barrages you with gay joke after gay joke. This is hit or miss throughout the series.
