As pupils at a school for the visually impaired, best friends Diana and Fitri are living full and complicated lives in spite of their sensory limits.
In all actuality, “Just Mercy” should be labeled a “wall punching narrative.” Constantly, the flick throws high forms of adversity our way, amping up our most inner levels of discomfort. Filmmaker Destin Daniel Cretton wonderfully paces the film in such a way that replicates the slow-burn nature of justice.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
Presenting a bold and unapologetic narrative focused on strong Muslim female characters, the show beautifully incorporates punk rock as a feminist movement in their lives.
You'd better buckle up, pack spare underwear, & maybe lay off the drinking for a night, for a gnarly ride in New York!
A decade since it aired, Shameless (U.S.) has always stuck to its guns (and baseball bats) about character diversity.
Slumber Party Massacre is a gory film with just enough commentary on sexist excuses, the validity of women's voices, and the inherent feminism of the slasher.
