'Alice' Doesn't Live Here Anymore
'Alice' is a genre trifecta: one part revenge drama, one part historical account, one part throwback to Blaxploitation—kinda 'Django' meets 'Roots' meets 'Foxy Brown.'

At the end of the busy year of 1997, we ended up filming a documentary produced by Jorge Timm. Jorjão's restaurant was very close to the Uruguay River, on Ilha Redonda, and there was a river flood, which rose about eleven meters above the normal level - two meters less than the record high of 1983 - and displaced many people. Claudio Baiestorf, Carli and I went there to record the damage, interview homeless people and invent delusions. We arrived at the place and realized that Jorge had greatly exaggerated, via telephone, the size of the flood damage. There were not even homeless people. Thanks to warnings from the civil defense, all residents had taken precautions. We opened a whiskey and started filming anyway.
'Alice' is a genre trifecta: one part revenge drama, one part historical account, one part throwback to Blaxploitation—kinda 'Django' meets 'Roots' meets 'Foxy Brown.'
A movie that brings Indian culture with classic Bollywood themes and electronic dance music.
After We Collided is a sequel to last year’s After, which itself was based on Anna Todd’s 2014 novel of the same name, and which was originally published as a Harry Styles-centric fan-fiction on WattPad (a similar path as E.L. James’ Fifty Shades of Grey series).
Disney+ recently released six short films entitled the “Launchpad” collection in which diverse directors tell diverse stories. These shorts are exactly the kind of films we here at Incluvie want to see more of. These are stories of intersectionality, inclusion, and diversity. And every short stars a cluvie!
"The Mitchells vs. The Machines" captures the eternal struggle between kids who want to pursue the arts and their practical parents who think they'll fail.
It’s fun, it’s energetic, but it’s also understated and vicarial. Zola is a modern black fairytale and future of black movies.