"White Screen starts with the idea that perception is a worldmaking ability. It is simple: a change in the lens’ focus can either allow us to see a tree or a forest, and brings an understanding that these two things exist simultaneously. Then we see a woman (Martos) tying a rope between the trees. Slowly, she makes a cinema space materialize, as she drapes a sheet over the rope. While the night takes its time to fall, the film explores the screen as a new part of the landscape (perhaps something that exists between the tree and the forest) ..." — Lucía Salas
In season 3 of 'Umbrella Academy', Diego, Allison, and Viktor finally get character arcs that address their unique experiences as a Latino man, a Black woman who lived through the 60s, and a trans man.
Dashing in December follows the tried and true outline of a traditional holiday romance, with a less traditional middle-aged gay couple as the film's romantic focus.
The plot could’ve really been interesting if the elements of lycanthropy was integrated with perhaps the struggle of identity of being LGBTQ+. It's an experience for so many that as they’re starting to realizing their true selves, they feel like a monster, especially if they come from unsupportive homes or communities. Instead, the horror and transformation elements seem thrown in without contemplation of how this could deepen the narrative.
The nations of Wakanda and Talokan enter war over their opposing viewpoints on dealing with the destructive hearts of humankind on the surface world.
A movie that brings Indian culture with classic Bollywood themes and electronic dance music.
“I’m always interested in exploring female fantasy, and the sexy witch is a loaded archetype that is simultaneously about men’s fears and fantasies about women, and women’s feelings of empowerment and agency. So whereas we are used to seeing the sexy witch or the femme fatale from the outside, I wanted to explore her from the inside.” - Anna Biller, on why she made The Love Witch
