In a once-scenic village now dominated by a vast trash disposal site, a young man yearns to break free from a cruel fate tying him to the very grounds.
Alongside A Drowning Man, I Signed The Petition, 3 Logical Exits, and A World Not Ours, A Man Returned continues to paint a realistic portrait of the Refugee Crisis that eschews the Western gaze and stereotype. These are real portraits painted by a director with lived experience, cultural connection and an amazing eye for visuals.
Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.
The history of Hollywood is as ugly as it is beautiful. Most notably absent from Hollywood history are Black-produced films. “They’ve Gotta Have Us” explores the rise of Black cinema.
The whole family will enjoy these fantasy and science fiction stories about families and individuals connecting, finding true love, and discovering self.
Magnolia focuses on how one’s childhood and trauma relate to their confidence and self.
‘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.
