“Moonlight” (2016) is a poetic and universal tale. It is a coming-of-age story for everyone who has every questioned “Who am I?” The central character in Tarell Alvin McCraney’s story is a Black American young man in Miami, yet he is also all of us, in all locations of this world growing up and coming to terms with our unique identities and surroundings.
Cinema Femme is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and … Continue reading ‘The Office’: A Comedy of Love
Cinema Femme is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and … Continue reading A vintage that gets better with age: a celebration of ‘Jennifer’s Body’ 10 years later
Family is about the lengths you will go to listen and hear others, not just the blood bonds that you have. Kate and Maddie are each other’s chosen family, and that is poignant.
Throw a reunion if you’ve graduated within the last ten years because “Booksmart” is the most accurate depiction of what it’s like to be a high schooler in the 2010s.
Both willingly and unwillingly, Yance and so many others have done so much emotional labor to tell us their stories and relive their trauma, all to reveal to us the racism, sexism, bigotry, homophobia, and overall hatred that still exists and causes unfathomable pain, and it’s our job and responsibility to pay attention.
When the lights in “Strong Island” (2017) begin to dim and the credits start to roll, the viewer is left with an echo of a scream ringing intensely in their … Continue reading The burden of heartbreak
It’s always the women, the queer, and the blacks. They are the ones who tell stories. They are the ones who dig deep into their families’ histories. They are the … Continue reading ‘Strong Island’: documentary filmmaking as a coming-of-age tale
It is a pessimistic view of life in America, and for Yance Ford and millions of people who look like him, it is a daily reality: living with the fear of being treated as a second-class citizen in school, housing, employment, and the law.
“The Virgin Suicides” film is a feast of watchers: it confirms that we are all watched and we all watch. Like George Orwell’s “Nineteen Eighty-Four,” this film reminds the viewer that we are all under constant surveillance.
I don’t know about you, but I get chills by the intimacy of the details. Her films vary in story, but no matter what the story is about—a seventeenth-century queen, spoiled teenagers in Hollywood, a middle-aged celebrity traveling in Tokyo—I know that I’m going to be enchanted by the artistry of the cinematic details that bring me deeper.
The question of who might be trustworthy is a constant point of contention in Bart Layton’s vision in the 2018 film “American Animals.” Can we trust the characters? Can we trust the real people involved in the real situation? Can we even trust ourselves as viewers? Layton creates a world mimicking that of a dream that goes beyond the idea of “zero boundaries” between what is real and what is not.