Wee Sing Together (1985)

'The Mad Woman and the Feminist': This Spanish entry for the MiamisFF directed by Sandra Gallego handles a difficult conversation in a smart, memorable way.

How powerful can a story be when it is stripped to the bare essentials of just a room, a handful of people and raw human voice?

A refreshing twist is that all the kids’ powers are…kind of useless. There’s a kid who can only move in slow motion, a kid who has every power in the world but can only use them randomly, and our main character Missy who has no powers at all. The thesis of the film seems to be that it doesn’t matter what kind of powers you have, its the way you use them, which is good for the warm and fuzzies.

Netflix's Afterlife of the Party might fall into the rom-com genre, but it's much more about grief, strong female friendships, and platonic love than it is about romance.

I understood post-memory as passing down stories and images of one’s experiences that are not your own. For decades, rape has been depicted in cinema through a third-person perspective, leaving the viewer to observe rape; not to experience it. 

There’s no two ways about it — Bridgerton is horny. Shondaland’s newest venture- released on Netflix on Christmas- is certainly a spectacle to behold, just as the premise; essentially an Austenian, Regency-Era Gossip Girl, helmed by Shonda Rhimes, the reigning queen of steamy romance television. It would not be inaccurate to describe it as Jane Austen porn.