"Mayi, the protagonist in this strikingly stylised debut ... works as a removals man for a company belonging to a relative. In his spare time, he drinks and plays cards with his colleagues. At a certain point he sees an opportunity to find his way into the immediate vicinity of the beautiful Hudie and his obsession won't stop when it becomes clear that she receives a lot of male visitors. His desires and ambitions put him on the path of minor white lies, with dramatic consequences." - IFFR
CODA' is about a child of deaf adults torn between staying with her parents and her dreams of pursuing music. This film is a step forward for deaf representation and disability in movies despite negative messages about the burden of actors deaf deafness.
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.
That gut-wrenching feeling you have while watching it is okay but needed, and you, the viewer, will be okay.
The French-born director Laure de Clermont-Tonnerre’s strategic choice to entrust the interpretation of a conventional, feminine character to a non-binary actor pays off: Corrin’s Lady Chatterley is awkward, edgy, and uninhibited at the same time.
'Yes, God, Yes (2019)' is a coming-of-age tale about a Christian teenage girl discovering her sexuality, the turbulence that comes with it from within herself, and the judgment from those around her.
Wanda and Vision are suffering under the stress of parenting their twin boys.
