The Drama: A Marriage of Discomfort and Empathy
This is not a film, it’s a drop tower. A drop tower that you don’t get off of for the vast majority of its 106-minute runtime.

Uitgesloten is set in 1983. Jonathan is 18 and, just like his best friend Coen, he has grown up in the Jehovah's Witnesses. In this world with its strict rules, Jonathan and Coen however have their own ideas. Both have girlfriends, Marjan and Annemiek, who live in a very different world: the girls study at art school and mix with squatters. The boys do not tell their girlfriends about their background and they anxiously keep Marjan and Annemiek hidden from their own community. The friends lead a double life: they ring doorbells to distribute the Ontwaakt! and play in a band for the Jehovah's Witnesses, while they also visit ska concerts and squatters' bars and become increasingly caught up in the worldly life of Marjan and Annemiek.
This is not a film, it’s a drop tower. A drop tower that you don’t get off of for the vast majority of its 106-minute runtime.
This story solidified my choices to consume a more plant-based diet and nearly made me cancel my subscriptions to big corporations like Amazon. The narrative was perfectly crafted and on par with Bong Joon-Ho’s other major works; Parasite and Snowpiercer.
Welcome to the first episode of the Incluvie Movie Highlights! We shine a spotlight on our favorite new movies that stand out for diversity and identity. Is Everything Everywhere All at Once too weird, or just the right amount of weird?
The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.
It’s 2021 and what few LGBTQ+ films that are produced by major film studios continue to star cisgender heterosexual actors, rather than actual LGBTQ+ people.
Two movies that do a fantastic job in conveying the ongoing struggle for racial justice are Selma (2014) and Just Mercy (2019).