Without trans persons behind the camera, the spectacle of The Right Girls offers few answers for those of us with a personal stake in the outcome of this journey.
Global pandemic notwithstanding, the future was always bleak. But the desire for the good life, or some semblance of it, is a stubborn flame.
It's like reality is bending.
Each vignette is a high-wire act, teetering along the razor’s edge separating shame and desire, passion and violence, actualization and obliteration.
Weather takes an atmospheric view of dread, from domestic to existential, that is particular to our 21st-century life.
Never Rarely Sometimes Always is something of a procedural, except the procedure here isn’t a police investigation or anything along those lines, it’s an abortion.
Fantastic Fungi is also a portrait of a community of mushroom obsessives—who journalist Eugenia Bone beautifully describes as, “bloated pleasure-seekers with a scientific bent.”
The town of Bacurau fights back, they do some damage, and it feels like a victory for its characters and for viewers, a blueprint for imminent direct action and self-defense.
If a good performance is one that resonates, then Collective Dreaming at MICA’s BBOX theater March 6 and 7, was spectacular.
Baltimore filmmaker Marnie Ellen Hertzler’s Crestone feels like a great piece of outré journalism. It found the sweet spot of making you feel as though you’re there watching something happen and commenting on it all only when necessary.
A less cloying way for “mainstream” movies to ponder #MeToo, an encouraging trend in Hollywood movies
In Flourish, Malech's poems rarely alight anywhere near where they begin—often introducing unexpected themes into the fray.
What looks like a staid costume drama is more like if Chantal Ackerman got ahold of a Merchant-Ivory movie.