
Let’s embark upon a journey to discover two collective housing projects. One in Kharkiv, Ukraine, from the early days of the Soviet era in 1930; the other, in the suburbs of Rotterdam, in the 1950s. Their connection? Lotte Stam-Beese, the first woman to train as an architect at the Bauhaus, who took part in both ventures. Two political and social spaces for two different architectural utopias. The film unfolds stories and expands them with well-informed, militant explanations, as we go back and forth, sometimes imperceptibly, from one city to another, from past to present, in a delicate weaving operation. As a game of transfer and echoes, of viewpoints opening up a counter-History, in reverse, as suggested by the superimpositions the film is peppered with. A journey through the bends of places, History, words, punctuated by the apparitions of an interpreter who translates as much as she comments, in a whispering voice, as a ghostly narrator.
Overall, Matthias & Maxime doesn't reinvent this romantic concept. But it also doesn't need to. Dolan weaves a story of love, friendship, and life that is both realistic and bittersweet. The film is nuanced and sensual in a way we don't get to see often with LGBTQ characters. It's a film that we can celebrate.
Disclosure Day asks us to question humanity's role in the universe but falls victim to the same assumptions of centrality.
I hope that more people will see Joyland, understand the situation, and eventually change themselves and society so we can have a more accommodating world where everyday tragedies like the one depicted in the film do not occur.
As an extremely avid fan of DC’s animation, I’ve become familiar with the way the studio uses Batman as a bit of a Trojan Horse to introduce some of their lesser known characters.
Renee Zellweger shines in this Judy Garland biopic, which highlights the pain and loneliness that so many famous women endure.