'Zola' is a Modern Black Fairytale
It’s fun, it’s energetic, but it’s also understated and vicarial. Zola is a modern black fairytale and future of black movies.

A young Slovenian girl arrives in Brazil right before the outbreak of World War II. She is alone, single, has left the family and her great love back home, with the promise of returning in one year. Unable to return, she settles down and has a new family and a new life in Brazil. Vida, which means 'life', is her name and she is the director's grandmother who returns to Slovenia with her granddaughter 73 years after her arrival in Brazil. Their journey, the family journey, has a different nature: subjective, poetic and emotional. A journey that struggles to retain unstable memories, relieving feelings and discovering what is hidden in our souls.
It’s fun, it’s energetic, but it’s also understated and vicarial. Zola is a modern black fairytale and future of black movies.
Some people’s first introduction to Mira Nair might be as New York mayor Zohran Mamdani’s mom. But with her insightful direction of 1991’s Mississippi Masala, Nair shows how much she deserves to be known as an artist. Delivering a nuanced portrait of a romance between a Black man and an Indian woman living in the South, Nair explores the complications each character faces, giving both equal weight.
A surprise sequel takes place ten years after the original movie based on the title of the same name, but with a twist to the fairy tale.
There is a lot of controversy around Q-force. It’s certainly not hard to see why—the series is quite hyperbolic. I will say, that was the first aspect I noticed on my initial watch. Right from the get-go Q-Force barrages you with gay joke after gay joke. This is hit or miss throughout the series.
Essentially 'Get Out' but for white women, 'Don't Worry Darling' has strong material with its twist reveal, but the writing and directing falter trying to execute it.