'Kizazi Moto: Generation Fire' - Mhkuzi: The Spirit Racer
The second episode of the highly anticipated Afrofuturism series delivers with a high-speed race teaching us to go far beyond just accepting ourselves.

In the mid-80s, Aegokeros publishing house intended to publish a magazine about film and the theater. Theo Angelopoulos and Nikos Panayotopoulos had been chosen by the editorial board for the first issue. A summer evening at Angelopoulos house in the Mati area, Antonis Kokkinos and Yannis Soldatos recorded a three-hour interview between Theo and Nikos, within the frameworks set for them, in order to be included in the magazine. The interview brought to the fore their common course, even though completely opposite from one point onward. Thirty-five years later, the unpublished conversation has been found; both the tapes and the transcripts! This conversation stands as a valuable manifestation of the creators’ views regarding their own, until then, existing and future work, as well as a thorough insight into the New Greek Cinema, and into World Cinema in general.
The second episode of the highly anticipated Afrofuturism series delivers with a high-speed race teaching us to go far beyond just accepting ourselves.
As noted in the headline, I didn’t like this movie. Not to say it’s the worst thing ever, but it’s just…meh. Nothing much to it. Very generic. No surprises. At the very least, the cast is diverse so I’ll give it that.
This coming-of-age movie is about a group of girl trying to find their missing friend after a wild night none of them can remember.
“And I think to myself….what a wonderful world”. Louis Armstrong sang about this notion via his classic 1967 song, an ode to witnessing elements of our life that should be but some reminders of exactly what that concluding line of each verse indicates. Now we see our contemporary realities and, just being honest, it makes a sentiment like this seem SO overtly far away….perhaps even impossible….to accept or believe could be. It sounds harsh, but again, so much of what is occurring speaks not to beauty, but bedlam.
An analysis on how the Garfield movie fails to represent the characters it is adapting, especially the women, by removing their best characteristics.
'Do Revenge' offers a 2022-relevant sociopolitical commentary that decries virtue signaling while promoting the inclusive virtues the nefarious power structures exploit.