A once thriving reception hall has been reduced to catering to the funeral business and the somber rituals of death. The owner, Soleimani, is a sour, lonely and unloved old man who treats his workers with contempt, inflicting small cruelties whenever possible. Embittered and seeing a psychologist, he decides he will close the business in twenty days, sending his staff, already fighting just to get by, into a state of fear and uncertainty. Like a close-knit family, the staff members endure their daily suffering together. These good-hearted people include an ostracized young widow trying to survive with her daughter; a chef with a paralyzed arm who has a demanding wife; and two young men, working but homeless, who must sleep in the company's truck. Despite Soleimani's indifference to their plight, the people on his staff have retained their hope and humanity. As the threat of closure nears, they work together to save the hall and at the same time attend to each others' emotional needs.
'Ms. Davis’ Close Friend' will make you think about the meaning of death and what it means to be alive, and if there’s really a race to be run with one's inevitable demise.
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.
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.
Ben Affleck leads The Way Back, a seemingly cathartic film for him after the actor’s recent bouts with alcoholism and rehab. He plays Jack, a man fighting his own battles who happens upon coaching a boys’ basketball team, the same team he once played for back in high school.
Complex relationships between mothers and daughters are far from a new concept, whether the strain comes from abandonment, beliefs, or trauma. In My Only Wish, an Incluvie Film Festival submission, Brenda Gutierrez’s take on her character’s maternal divide comes in the form of abandonment.
Making Apes begins by looking back at the history of makeup effects in Hollywood, which was revolutionized by Jack Pierce, the person behind Frankenstein (1931) and The Wolf Man (1941)
