The memoirs of a medical missionary on the Afghan borderlands provides the starting point for a film constructed from still photographs of colonial life on the North West frontier of British India at the turn of the 20th century. The film plays sound against image in a search for clues as to the stories behind images and finds striking continuities in Western portrayals of a distant place and people.
The history of Hollywood is as ugly as it is beautiful. Most notably absent from Hollywood history are Black-produced films. “They’ve Gotta Have Us” explores the rise of Black cinema.
It’s the most loving tribute to cinema and to Ingmar Bergman, set in world that feels so habitable that I felt like only re-watching this for eternity, because of how inviting it looks and feels.
One of the reasons that people with albinism have a difficult time being seen and represented in media is probably because there is a small percentage of them.
Netflix’s Shadow and Bone has a complicated relationship with race. It has a diverse cast, but not without its problems. Based on Leigh Bardugo’s two book series, the show features characters from the Shadow and Bone trilogy, which is very straight and white, and the Six of Crows duology, which is much more diverse. When bringing together a cast and writing about these characters, the team behind the show expanded upon some of the representation missing from the first trilogy, then seemed to take away representation from the duology. Shadow and Bone seems to play a bit of a push and pull game when it comes to portraying diversity onscreen.
How do zombie films shine new light in the post-Covid and post-Brexit era?
Hokum is an enjoyable horror film that will probably get a little under your skin, but it isn’t the tour de force that you might be expecting.
