The Blues, and Two Contradictory Films That Claim It
Crossroads follows a young guitarist on a journey through the American South in search of blues history and his own voice.

With To Sea, the sound seeps out into the space. A filmed image of the sea is projected onto a wall. Overlayed onto the film is a Morse code strip punctured with the text of a report on the state of the ocean. The soundtrack of the text being transmitted makes standing in the space slightly unsettling—the high-pitched tone of the code signal and the strobe-like effect of the projected image combine to create a queasiness that might, perhaps, mirror what one would feel if they were to decode the text of the environmental report.
Crossroads follows a young guitarist on a journey through the American South in search of blues history and his own voice.
‘Killers of the Flower Moon’ is preoccupied with plot and not on the greater struggle of the Osage.
This coming-of-age musical features a strong representation of LGBTQ+ individuals coming-of-age.
Battles will come and go and queer people do die for their identity and fights for rights, but that doesn’t mean the gays don’t deserve their happy endings in stories.
2026 ranks highest in Oscars history for its representation of minorities in all categories, and that’s definitely something to be celebrated.
This captivating film can only be truly appreciated by seeing it firsthand. There are not enough words to describe the terrible beauty one experiences while watching it.