Strap in everyone, we are going to hell!
It may not be Halloween, but it’s certainly dark times in good old Greendale. Everyone’s favourite witch is back and she’s more irresponsible than ever. Sabrina Spellman (portrayed by Kiernan Shipka, world’s best casting decision of all time) continues to carry the famous Harry Potter torch of Teen-With-Magical-Ability-Who-Puts-Everyone-In-Danger. And this time, she is also a cheerleader.
Continue reading “Scarier, Funnier, Gayer: Chilling Adventures of Sabrina Part Three Review”
Noah Baumbach’s latest feature is a heartbreaking AU in which actress Gena Rowlands divorces her director husband John Cassavetes in order to move to LA and further her film acting career. Kidding, it’s a fluorescent law procedural detailing the absurdly high expenses, both financial and emotional, that unjustly come along with divorce. No, really, it’s a deconstruction of the apocryphal myth that the perfect parent, the perfect marriage, and the perfect career all exist.
Continue reading “‘Marriage Story’ is an Emotional Tempest that Expertly Blurs the Line Between Realism and Camp”
The West never sees the Middle Eastern and African world as what it really is. There is an inbred generalization that is almost impossible to forget. Even when you know that it is false, your mind will not always have actual images to put next to that thesis. Godard’s La Livre d’ Image dedicates a chapter to the violence of representation, pointing out how it’s nearly impossible for Westerners to represent cultures that are not Western, grounded in the inherent gap in both language and perception of other cultures. The fact that Africa is often seen as a monolithic setting, something homogeneous, even though it’s a diverse, culturally rich continent, should be proof enough of a general unwillingness to destroy and actively tackle images of prejudice in broad parts of society. In consequence, it’s no wonder there is so little compassion towards thousands of refugees from North Africa and the Middle East, who are in search of a better life. They are seen as one.
In Mati Diop’s ravishing Atlantique, a group of construction workers are repeatedly denied their money for their work on a giant futuristic building. They struggle to support their families and loved ones and set out to sea to find better opportunities. The women remain, one of them being Ada. She is in love with the young Souleiman, but has to face her arranged marriage after Souleiman disappears with the others. What unfolds from here is both a ghost story and a love story from the perspectives of the women left behind. Continue reading “‘Atlantique’ is a swoon-worthy debut by Mati Diop”
Usually, in this industry, it’s every man for himself, and it’s almost always a man telling you your ass is too fat at the same time he’s trying to grope it. And having a woman in charge instead of that Sackballs guy? This is as good as it gets.
While there have been many shows about show business, GLOW is one of the few series that doesn’t treat its women as disposable, as plot devices, or eye candy for problematic men. At first glance, the show appears as if it’s geared to cater to the male fantasy, but GLOW is so much more than that. GLOW, for the most part is devoid of the male gaze, and allows its women to be imperfect. It demonstrates the complicated relationship between a woman’s body and her trajectory in life, and how men in entertainment (and beyond) try to take ownership of that. Over the course of its three seasons, GLOW has allowed its women to thrive, and take charge of their bodies and careers- both on screen and off. Although GLOW takes place in the eighties, not much has changed in regards to the body policing of the ambitious woman.
Continue reading “‘GLOW’ Declares That a Woman’s Body Isn’t Tied to Her Destiny for Greatness”
Written and directed by the great Ava DuVernay, When They See Us tells the story of the young Kevin Richardson (Asante Blackk), Yusuf Salaam (Ethan Herisse), Raymond Santana (Marquis Rodriguez), Antron McCray (Caleel Harris) and Korey Wise (Jharrel Jerome), five black and brown boys no older than sixteen-years old who were falsely accused of raping a female jogger in Central Park on April 19th, 1989. Criminally abused and coerced by police detectives led by Linda Fairstein (Felicity Huffman), and prosecutor Elizabeth Lederer (Vera Farmiga), we see these boys and their families stripped of everything for nothing.
Continue reading “DuVernay Introduces the Real Boys of the Central Park Five in “When They See Us””
Do you believe that perfection creates madness, or madness creates perfection? Time and time again, film explores the relationship between the artist and the pursuit of complete and total mastery of their craft. What will it take to be the best of the best? What will be sacrificed? In most cases, the artist pays a hefty price for the highest form of achievement, but is it all worth it in the end? All too often, the artist loses relationships, personal autonomy, and in some instances, even sanity. It’s a tightrope that many must walk for the sake of a perfect performance and the hearts of spectators. The latest film to explore this symbiotic relationship is Richard Shepherd’s The Perfection. The Perfection takes viewers in the dark recesses of the competitive world of music.
Continue reading “‘The Perfection’ Manipulates Audiences Into Rooting Against the Wrong Villain”
Let’s face it: we live in a terrifying world. Every piece of news seems to further illustrate our awful reality and it’s hard to feel like anything is ever going to get better. But, in times like this, a little imagination can work wonders in imagining what different versions of the future would look like, futures that contain wondrous machines, bloodthirsty monsters, and powerful figures that fight oppressive systems. Netflix’s animated series, Love, Death, and Robots works to harness the power of imagination in the creation of 18 different futures that are dark, terrifying, hopeful, and even queer. Sure, it is not perfect, but it is a beautiful example of how animation can provide us images of a previously unimaginable future, one that discusses queer representation, oppression, and bodily autonomy.
Controversy sprouted on Twitter when one user pointed out that the order in which the episodes were served up to viewers was potentially based on their sexuality, which is a terrifying prospect in itself. Even now sexuality is being used to judge what content to give us, even if Netflix so vehemently denies this is the case. This is only one small example of the terrifying digital future that is expanding exponentially by the minute, one that provides us with tools to educate, build community, spread hate, and harm. Even in the face of the irony of its distribution, Love, Death and Robots expands on these tools into previously unimaginable possibilities.
Continue reading “Using Animation to Imagine Terrifying, Glorious, and Queer Futures in ‘Love, Death, and Robots’”