A Closer Inspection of LGBT Characters in Film
We have a long way to go with LGBT representation in film, especially when it comes to LGBT characters of color and trans characters.

Down on her luck after an exhaustive job search, Luna returns to the home of her childhood friend following another failed interview. They commiserate over wine, working to re-establish their relationship as young adults navigating São Paulo, Brazil.
We have a long way to go with LGBT representation in film, especially when it comes to LGBT characters of color and trans characters.
My review’s title is a nod to Shakespeare and is entirely deliberate. The original movie portrayed the high-end fashion world as a brutal arena of plotting, backstabbing, and betrayal, and most Shakespeare’s plays depend on these plot devices. The Devil Wears Prada 2 uses the same formula, and is, plot-wise, almost identical. Once again, we plunge into the cutthroat world of Runway, where to get and stay at the top, you must let go of your principles and moral sense. The only thing different is that due to the digital era, Runway is not a print magazine anymore, but one that is running online.
The thing is, people like Wahlberg will only apologize if they have something to lose, which he did. His glamorous life, his reputation, and his career were all at stake.
There’s been a longstanding criticism of sci-fi films about its lack of Black characters. For the past few years, Anthony Mackie has been successfully representing Black masculinity in the otherwise homogenous genre and I am here for it.
A 3D animated film centered on chasing fame in the humble stomping grounds of middle school. Unfortunately, while the protagonist dreams big, the plot falls short and fails to capture even a semblance of diversity.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.