“Past Lives makes time for the minutiae that define the immigrant experience.”
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“Broker is a movie that distinctly blends Japanese director Kore-eda’s sensibilities with those of Korea.”
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“It’s wonderful to see such breadth of Black identities and skin colors in this Scottish, Glasgow-set story.”
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“Several interviewees in KOKOMO CITY theorize on why Black cis culture holds such deep-rooted tensions with trans women.”
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“The Woman King provides a template for how men can advocate for women.”
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“The Eternal Daughter uses a complicated mother-daughter relationship as its central mystery.”
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“Bones of Crows features a few disability tropes.”
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“Everything Everywhere All At Once accurately captures the organic changes in language and accent that divulge a character’s underlying traits.”
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“Queer subtext has always lived hand-in-hand with The Matrix franchise, with LGBTQ representation subtle but present in Resurrections.”
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“Mars One naturally works in disabled narratives through several of its key characters.”
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“While race is not overtly addressed in Eternals, neither is the casting colorblind.”
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“While Bruised gets a gold star for lesbian representation, other stereotypes prove to be its weakest elements.”
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“CODA clearly trusts its magnetic cast to honestly portray dimensionality within a Deaf family.”
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“In Scarborough, writer Catherine Hernandez raucously celebrates the diversity and resilience of her community.”
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“Please, Hollywood, give me more films with women in their 40s and 50s kicking ass!”
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“Ludi successfully humanizes the sometimes one-dimensional idea of ‘immigrant grit.’”
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“Barb and Star proves that comedy doesn’t have to be offensive to make people laugh.”
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“Sammy and Patricia tussle and yell with sheer physicality, occupying space in a way that young Chinese American women aren’t normally afforded in American media.”
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“Hollywood frequently pigeonholes filmmakers of color into only telling stories about their own communities. It’s exciting to see Run depart from that harmful trend.”
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“The Forty-Year-Old Version scathingly critiques the institution of theater.”
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