Last Christmas: Emilia Clarke Stopped Eating Hearts and Decided to Win Them.
In Paul Feig’s newest comedy, Last Christmas, Katarina (Emilia Clarke) didn’t give a heart, she got a heart, you see.

Employing archival materials, interviews, and 16mm and digital film, the experimental documentary explores the political and cultural forces that have come to bear on the site—from its halted construction to its imposed abandonment and attempted reappropriations. How has architecture been instrumentalized in the ongoing construction of a national narrative? What is the role of architects in shaping society within corrupt ecologies of power and failed financial engineering? Film becomes a plastic medium to reframe the positivism of urban masterplans and architectural monuments and formulate a social critique. Modern structures under threat of collapse stand in as protagonists to tell the story of a promised metropolis that never came to be, while the fairground acts as a lens to look at implicit collapse beyond the perimeter of the site.
In Paul Feig’s newest comedy, Last Christmas, Katarina (Emilia Clarke) didn’t give a heart, she got a heart, you see.
Disney's live-action remake is vibrant and beautiful, with updated music and classic enthusiasm, but it fails to push the envelope and provide nuance for Ursula.
Asha, the main character, is a biracial woman who discovers the power of magic wishing dust.
The three themes of lessons learned from HBO Max's Station Eleven are the same as the pandemic: love, regret, and art.
The film follows the biblical story of Moses, from his time as a prince of Egypt, to a leader for the people of Israel. It’s a film that works brilliantly in animation, and is one that both children and adults can; enjoy despite its religious contexts, it is friendly to general audiences.