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< Back Chevalier shows that being the best isn’t always good enough Element Pictures, 2022 108 minutes Director/Writer: Stephen Williams / Stefani Robinson Reading Time: 7 minutes Chevalier Good Grace (SQBKGUFKX3KJNETU) 00:00 / 07:45 📷 : Licensed from Shutterstock Honeybush Nonfamily dramas with strong adult and/or socioeconomic themes Oolong Movies and TV shows that make you laugh or involve physical activities like dance and exercise Reba Chaisson 2023-05-09 I remember my high school modern world history teacher, Miss O’Donnell, walking back and forth as she confidently lectured about the French monarchy and its heads, Louis XVI and his wife, Marie Antoinette. Both catered to fellow aristocracy and disregarded their constituents in the process. Miss O’Donnell explained that Marie Antoinette loved her lavish wigs, some of which had replicas of ships built into them. I remember her talking about the French coup d’état, which ended with the beheadings of the king and queen. I also remember some mentions of Joseph Chevalier – but never that he was a Black man, formerly enslaved, nor that he was a classical music virtuoso. Chevalier is about an African Frenchman who began his life in enslavement on a French plantation. His father, who is also his enslaver, takes his preadolescent son from his mother and enrolls the gifted violinist in a boarding school. With casual indifference, he leaves Joseph with the parting words, [Be the best and no one can deny you anything you want.]. Not coincidentally, African American children are often told early on by parents and loved ones that they cannot just be good at what they do, they must be the best at it. It is undue pressure to put on a kid, some might say an impossible aspiration for anyone. But imploring Black children to be the best is likely a universal phenomenon. Although it was centuries ago in another country, even Chevalier’s father and enslaver was keenly aware of the forces his young son would contend with as he grew into a man in France. Enduring bullying (old-school style) and beatings from some of his privileged White classmates, Chevalier, played by Kelvin Harrison Jr. ( Luce , Waves ) nonetheless perseveres, seemingly using the abuse as fuel that propels him toward perfection. He strengthens his knowledge of music along with his talent for playing the violin – so much so that by the time he leaves school, he is ready to not only challenge but beat Mozart in an impromptu performance of dueling violins. Chevalier earns wide popularity in France for his music and leadership role in the French symphony. Having gained entrée to French aristocracy, he has access to wealthy and influential people, and is even close friends with Queen Marie Antoinette. When an opportunity arises to head the French opera house, rumors spread that the queen will be appointing a British musician to the role. She confirms the rumor when Chevalier broaches the topic with her during one of the many lavish aristocratic festivities. Incredulous, he states, “But he isn’t even French!” She responds in a cajoling manner, “You know, things are complicated.” Here, Chevalier learns that even being a renowned musician and composer is not enough to be awarded a coveted appointment in his field, in his own country. His father’s assertion that as the best, he would not be denied, does not come to pass in this case because “things are complicated” – undoubtedly code for: a Black man cannot be allowed to hold such a high position in France. Upset that he is denied a prestigious position that should have been his without debate or controversy, Chevalier openly challenges the British musician for the role. Enjoying drama and attention, the queen, played by Lucy Boynton ( Bohemian Rhapsody , Murder on the Orient Express ), agrees. Each must compose an opera and perform it for her. The winner, she adds, will be appointed to head the opera house. So, despite having proved his excellence in music over the years, Chevalier must press himself into a situation to once again prove he is the best, and deserving of an accolade that should have been his all along. Simultaneous with the happenings in privileged circles, poor and less privileged people in France across the racial spectrum are experiencing angst and anger. Many lack necessities, basic freedoms, and support of the monarchy. Rumblings of a revolt are brewing. Chevalier is aware of these goings-on, but since the happenings are not a part of his world, he is only mildly empathetic. His focus is on composing his opera and winning the prized head of the French house. Along the way however, he falls in love with Marie Josephine, played by Samara Weaving ( Three Billboards Outside Ebbing, Missouri , Ready or Not ), who is the lead in his production and the wife of the powerful Marquis de Montalembert, played by Marton Csokas ( The Equalizer , The Amazing Spider-Man 2 ). The confluence of love, politics, and a heightened awareness of the salience of race and class in French high society lead to personal disappointments and tragic events for Chevalier. Together, these compel him to use his music for something powerful and life changing, despite a stern warning from the queen against doing so. Moving ahead proves to be consequential, and reveals yet again, that it is not enough to be the best at his craft; in this case, he also had to be obedient as if he were a child. Many thanks to Stefani Robinson and Stephen Williams for penning this riveting story and pushing it to the big screen. What is striking about this film is how it reveals that very little has changed in the nearly 2 ½ centuries since the French revolution in 1789. Universally, there is no sense of fairness. Power, politics, and personal sentiment still play huge roles in the outcomes of even the most straightforward decisions, and race is just as salient now across lands as it was centuries ago. In the U.S., one need only look at the lopsided racial distributions in wealth, income, health disparities, and other measures of socioeconomic well-being to appreciate this. Also, given the current protests in France over the president’s unilateral decision to extend the retirement age, today’s aristocrats in the country still seem to be operating as King Louis XVI and Queen Marie Antoinette did - with little regard for its citizens. Chevalier’s timing reminds me of the 2016 film Hidden Figures , about Drs. Katherine Johnson, Dorothy Vaughan and Mary Jackson – three African American mathematicians who worked for NASA and played big roles in the successes of the early Apollo missions in the 1960s. This acknowledgment comes a full fifty years after their accomplishments. It would have been nice to have this comprehensive view of Chevalier during my high school modern world history class. In elementary and secondary schools, history lessons about Black people largely consist of the enslavement era, memorizing who discovered what and when, and perhaps a bit about the civil rights movement or more specifically, Dr. Martin Luther King Jr. Rarely do the lessons contextualize the existence of African Americans by delving into the political and social climates in which they lived, experiences told from African Americans’ points of view, or the talents of Black people with respect to math, science, and performance arts. Chevalier encompasses these elements, and it does so in an engaging and entertaining way. I am, however, disturbed that the news comes so late, and so I sit at the edge of my seat in anticipation of more. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back Twinless poses questions about the durability of friendships Permut Presentations, 2025 100 minutes Director/Writer: James Sweeney Reading Time: 6 minutes Twinless Don't Keep Me Waiting (66XECAPGHBL2DNLR) 00:00 / 07:49 Sage: Movies and TV shows with low-key characters Ginger Thought-provoking movies and TV shows Reba Chaisson 2025-10-23 Unlikely couple. If we only had a dime for every time we heard this. When we see two people who differ dramatically in appearance, speech, or even sexual orientation, we tilt our heads as if mentally shifting the duo to the metaphorical misfit category, relegating their relationship to doom. James Sweeney’s Twinless forces us to modify such responses. It’s a story about Roman, a twenty-something man who suddenly loses his twin brother Rocky in a car accident. The film opens with a shot of a colorful commuter train leaving a station. As the train clears out and the camera holds on the empty platform, we hear the screech of a car’s wheels and a terrible impact. Immediately, we know something has gone terribly wrong. Set in Portland, Twinless stars Dylan O’Brien from the long-running television series Teen Wolf , and James Sweeney, who is also the writer and director of the 2019 film, Straight Up . A native Idahoan, Roman (O’Brien) is mourning the tragic loss of his identical twin brother, Rocky. When his mother Lisa, played by Lauren Graham of Gilmore Girls , insists that he needs help, he joins a support group for people who have lost twin siblings. The group’s therapist, Charlotte, played by Tasha Smith from Why Did I Get Married and First Wives Club , asks them to introduce themselves by naming a vegetable beginning with the letter of their first name and revealing something they don’t miss about their twin. At this moment, I wonder if the movie is a comedy rather than the heavy drama I surmised from the story’s synopsis. But given the timing soon after Rocky’s funeral, perhaps this was intended to bring some levity to the moment. Roman meets Dennis (James Sweeney) during a session break, as Dennis makes small jokes and shares that he lost his twin brother Dean. In their mourning, Roman and Dennis forge a bond, attending parties and hockey games together as if standing in for each other’s sibling. Roman and Dennis, though, could not be more different. Roman is heterosexual and Dennis is gay. Roman likes hockey and Dennis craves sandwiches. Roman is fit and goes to the gym regularly, and Dennis, who does not work out, is slim and lanky in appearance. Yet the two become very close. Roman struggles mightily with Rocky’s loss, as evidenced by him wearing Rocky’s clothes and avoiding everyday tasks. But when he opens the refrigerator to find only a sliced onion and discovers only stale cookies in the cabinet, he calls Dennis to go grocery shopping with him, something the two continue regularly. During a shopping trip, they bump into George, one of Rocky’s friends, who notes that he witnessed the accident and was the last to see him alive. As he clumsily and without invitation shares that Rocky was distracted by a “crazy guy” who was yelling at him at the time, Roman says he would (to put it mildly) hurt the guy real bad if he found him. Leaving a hockey game one night, the duo encounter three men, one of whom lobs a gay pejorative at them. Roman confronts him and insists he apologize. When he doesn’t, the four get into a brawl while Dennis watches fearfully but with concern. This brings to mind a scene from the limited series Black Doves , where a gay man, steeled by the gunfire around him, becomes so paralyzed, he has to be physically carried out of danger while he cries and covers his ears. LGBTQ individuals are often targets of harassment and violence, but such character portrayals can lead to the perpetuation of stereotypes about the group. While most studies in this area focus on partner violence, research out of London found that men who are gay “score higher for empathy and show significantly lower levels of physical aggression than heterosexual men.” This suggests that the former are not likely to engage in physical fighting, even when it means defending themselves against strangers. I am reminded of Hoon Lee’s portrayal of Job (pronounced Jobe) in the popular television series Banshee , where the LGBTQ character frequently demonstrates the ability to handle bullies with a sharp tongue and with or without weapons. Perhaps the London research attests to the threat response of many gay men. But I wonder if more portrayals of LGBTQ men fighting back or coming to the defense of their friends, can help disrupt stereotypes about the community as passive and thus vulnerable. Roman’s altercation with the trio after the hockey game and his expressed desire to exact retribution on the person he views as responsible for Rocky’s death suggest that he is still struggling with Rocky’s loss. He later reveals to Dennis that he regrettably used the same pejorative against Rocky soon after he came out as gay, and that he feels that “drove him” to leave home and settle elsewhere. To provide comfort, Dennis invites Roman to talk to him as if he were Rocky. Roman says through tears, “I don’t know how to be without you.” Testimonials at the therapy sessions reveal not only the patients’ sense of loss, but also how their pain can be differentiated from the pain that stems from losing a sibling who is not a twin. Roman reveals, for example, that he’s glad he has the pain because otherwise he is “actually alone.” Another notes that twins are “built-in best friends.” As if to drive home this point, in a flashback scene, Rocky describes breaking his toe as a child, and how Roman smashed his own toe so he wouldn’t have to suffer alone. Given this, it is no surprise that Roman defines himself in relation to his brother and struggles to adjust to life without him. Roman’s life changes when he meets Marcie (Aisling Franciosi) at a party. As the pair begin spending time together, Dennis becomes resentful and is seen peering at the couple during the party and later sniping at Marcie. A long time co-worker of Dennis’s, Marcie questions the veracity of Dennis’s claims of having a twin brother, leading her then to question his motives for befriending Roman. There are some great plot twists in this drama that help keep the audience in anticipation of what will unfold in the story. Central to them are what is Dennis’s motivation for lying and what he wants with Roman. These questions are posed by writer James Sweeney, to challenge the notion that friendships built on lies and half-truths, wherever they line up on the compatibility scale, cannot endure. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Black Doves, a quirky spy thriller that avoids tokenism < Back Black Doves, a quirky spy thriller that avoids tokenism Noisy Bear, 2024 55 minutes Creator: Joe Barton Reading Time: 7 minutes 📷 : Used with permission, Netflix Black Doves Rebel (HLUU3PIJNIDKQNJ0) 00:00 / 08:47 Matcha Mysteries or whodunnits Ginseng Suspenseful and intense thrillers Reba Chaisson 2025-02-10 Black Doves is a quirky six-part series starring Keira Knightley and Sarah Lancashire. Knightley is Helen Webb, a British politician’s wife with young twins, who unbeknownst to her family, is a spy for an independent intelligence organization known as Black Doves. A clandestine “company,” Black Doves makes its services available to the highest international bidder. Lancashire is Reed, Helen’s no-nonsense boss at Black Doves, who rarely smiles, rarely changes her calm demeanor, and is always focused on results. When Reed pulls Helen away from her Christmas party, she informs Helen that her secret lover, Jason, has been murdered. Helen is momentarily perplexed how Reed knows about him at all since she thought she was being so careful. (Doesn’t everybody?). Emotionally overwhelmed by the news, Helen’s disbelief and hurt become evident, which along with flashbacks, make it clear how much Jason meant to her. Still quite upset, Helen presses Reed for the circumstances surrounding his death. Though Reed explains that Jason was shot, she continues to convey information to Helen about her next mission. To give her context, she states that Ambassador Chen, China’s ambassador to Britain, was found dead in his residence, and that his 19-year-old daughter Kai-Ming has disappeared. Flabbergasted by both the manner of Jason’s death and Reed’s insensitivity, Helen, still clearly upset, is adamant that she needs to find who killed Jason and to kill them. Reed, on the other hand, is less concerned about who murdered Jason than Helen’s next mission, which is to find Kai Ming. Later that night, while her husband is out and the kids are asleep, a man with a gun enters her home and accosts her in the kitchen. He asks for a recording, which she knows nothing about. When he threatens the life of her kids a second time, she states “I advise you not to do it a third.” When he does, she attacks him, completely catching the audience off guard. Her fast hands, swift body movements, and deftness at turning kitchen appliances into weapons make for a shocking and entertaining fight scene. This is the most engaging sequence of the series because we are drawn into a significant moment of departure from Helen, the mother and politician’s wife who just hosted a large obligatory Christmas party, to this fighting machine. The physical altercation made for enjoyable action early in the series, portending a fun and dynamic story ahead. Black Doves ’ action, characters, and numerous twists and turns are reminiscent of spy thrillers, particularly those depicted in episodic series like Mr. and Mrs. Smith and The Night Agent . But rather than a dark quality like the latter, Black Doves has the quirkiness quality of Mr. and Mrs. Smith , that aspect of a show that conveys it is neither scary nor should it be taken too seriously. Indeed, Black Doves ’ quirkiness contains elements of comedic short films like Drone and Operation: Cavity , which are not satire but take humorous twists on serious topics not to make fun of them, but to have fun with them. When Helen tells Reed about the encounter in her kitchen and the man’s inquiry regarding a recording, Reed says she knows nothing about the latter nor what prompted the former. However, she decides to call in someone to protect Helen — despite Helen’s insistence that she always works alone. She gives in when Reed tells her that the person is Sam Young. The two are friends, even though they haven’t seen one another since they last worked together. Played by Ben Whishaw, Sam is an early 30-something independent contractor with killer/assassin qualifications. What is striking about Sam is he is small in frame and stature, so the idea that he can protect Helen is inconceivable. He appears quite unassuming as he frequently walks around with his hands in his jacket pockets and is always dressed too thin for the cool fall temperatures. When other people are donning thick sweaters and coats, he is still wearing the same short, spring jacket, appearing to be cold but never doing anything to address it. By far, Sam is the most intriguing character in Black Doves . When others around him are talkative, he is self-effacing and contemplative but a bit tense. He is, however, loyal, a man of action, and a person who loves sincerely and deeply. We learn a lot about Sam during a flashback where he is contracted to kill three brothers. Without hesitation, he creates a bloodbath killing two of them. But when he realizes the third is a child, he finds himself unable to finish the job, as if he himself has suddenly learned he has a red line. And now that Reed’s hiring has brought Sam to London years later, his former boss wants him to finish the job she hired him to do before he left – kill the third brother. Accomplishing this while protecting Helen will be a challenge for him. As Helen and Sam investigate Jason’s death and at a lower priority look for Kai-Ming, they begin to unravel a conspiracy at the highest levels of the British government as the cases converge. Complicating things, China’s Intelligence officers are in-country on a rogue mission, determined to find out who killed Ambassador Chen, and Helen and Sam are getting in the way. Their pursuit of the truth puts their lives and those of the people they care about at grave risk, despite being highly skilled assets themselves. Reed expresses her annoyance not because their lives are at risk, but because by deviating from their very narrow assignment of finding Kai-Ming, they have discovered a recording they shouldn’t have, thus jeopardizing Black Doves’ reliability and credibility with its mysterious client. Black Doves is a highly entertaining series and one of the most inclusive I have watched in recent decades. It contains a fusion of representation with characters from traditionally underrepresented race, gender, and LGBTQ+ groups. Michael, for example, is a mild-mannered and gay Black male who exhibits traditional feminine traits. During a shootout, he relies on his partner’s protection by hiding behind him and physically holding onto his waist with his eyes closed due to sheer fear. Sam is a quiet, self-effacing White male with a small frame who is a killer for hire and who is also gay. Helen, who in addition to being a mother and performing the traditional ceremonial obligations and emotional labor of being a political spouse, is also quite deft at hand-to-hand combat. In a scene exemplifying Helen's toughness, she casually slams her dislocated shoulder into a structure to force it back into place. This is reminiscent of an oft repeated technique used by Mel Gibson’s character in the Lethal Weapon franchise for fixing his bad shoulder. Such skills and traits tend to be much more associated with masculinity than femininity. So, by extension, the show displays the varying manifestations of gender in males and females, and particularly highlights the versatility and adaptability of the latter. All of this demonstrates that people of both sexes cannot simply be confined to the boxes they were assigned to at birth and the keys subsequently thrown away. They present themselves to the world in varied ways. Most interesting about Black Doves is that these characters in the series are not presented as tokens; each has an active role in the show, which lends itself to humanizing people of all types. Black Doves bears some similarities to Guy Ritchie's 2023 theatrical release, The Ministry of Ungentlemanly Warfare . Let by Henry Cavill from Man of Steel along with Alan Ritchson of Reacher fame, the show presents a racially and ethnically diverse cast, including a gay character who occasionally displays feminine traits. Both movies are spy thrillers with quirky characters and avoid taking on too much of a dark or ominous tone. Ginseng tea is much better suited for these productions than a tea that yields a heavier feel, like Rosemary or Dandelion. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back Passages expertly uses flaws as a humanizing element SBS Productions, 2023 91 minutes Director/Writer: Ira Sachs Reading Time: 4 minutes Passages Bouar (EKBQ1CUPJWHZ3ZXE) 00:00 / 04:36 📷 : Pixabay Barley: Movies and TV shows with a lot of dialog Honeybush: Nonfamily dramas with strong adult and/or socioeconomic themes Chris Chaisson 2023-08-20 For cinephiles who crave original stories and original characters, positivity can be found in a negative representation. Often, members of marginalized groups get depicted in film as perfect victims; constantly the targets of bullying and paragons of virtue. We tend to think of humanizing portrayals as showing the most admirable characteristics, but sometimes the true equality lies in everyone’s ability to be a douchebag. Tomas, the protagonist in Ira Sachs’s risqué drama Passages , serves as just such a character. Set in modern-day France, Passages revolves around a complex, pansexual love triangle. Tomas (Franz Rogowski, Victoria ), a German filmmaker, is married to his supportive husband Martin (Ben Whishaw, The Lobster ). After a night out with friends, Tomas has an affair with Agathe (Adèle Exarchopoulos, Blue Is the Warmest Colour ), a young school teacher. While it may seem like an inebriated lapse in judgment or momentary passion, he confesses to Martin, only to continue sleeping with Agathe. Though the terms of their marriage are never explicitly stated, it is clear that Tomas’s infidelity hurts Martin. The larger issue is that even in Tomas’s confession, he is more concerned with his own feelings and experiences than how he has made Martin feel, a recurring dynamic throughout the film. At first glance, Tomas could come off as simply too impulsive to make a good partner. However, with every passing interaction, it becomes clearer that he will do whatever suits his own best interest in the moment. Devoid of any remorse for his actions, Tomas lacks the sensitivity to comfort either of his lovers when they are in a moment of emotional need, instead manipulating them whenever he can. When Martin begins seeing Amad (Erwan Kepoa Falé, Winter Boy ), a novelist who genuinely cares for him, Tomas not only seethes but runs interference in their romance whenever the opportunity presents itself. When Agathe is busy or needs time to herself, he consistently hounds her for attention. Upon meeting her parents, he quickly starts an argument with Agathe’s mother to avoid any questions about his long-term plans (because he doesn’t have them). Tomas is not only unfocused but also shows complete disregard for the people he claims to care for. All of these negative qualities Tomas possesses could turn you completely off of this erotic French indie. Maybe you would rather see a wholesome protagonist fighting to make a relationship work despite his or her own shortcomings. However, there is a refreshing quality to watching an irredeemable character of a marginalized background. It feels true to anyone else’s experience, as we can often be our own worst enemies. Passages shows the complexities that a same-sex couple could have from within their relationship, rather than inserting a homophobic antagonist from the outside world. Depicting the gaping flaws of one partner in a relationship and how the other struggles to hold it together is a particularly humanizing representation. Many have occupied one role or the other at least as much as they have experienced the “us against the world” narrative many romantic dramas put forth. Passages does not merely portray the arguments and power struggles of relationships; it also portrays the physical element. The film has its fair share of nudity and intercourse, not pulling a single punch. While some moviegoers find such scenes superfluous to the plot, the vanity and raunchiness actually makes perfect sense for a movie all about relationships and what keeps them going through tough times. The focus on Tomas’s sexuality adds another layer to the love triangle, making him slightly more appealing in spite of his complete inability to provide emotional support. The sex scenes serve as a collective symbol of each character’s vulnerability, an aspect that the protagonist consistently preys on. Watching Passages brings to mind the late 2000s romantic drama Vicky Cristina Barcelona , in which two friends visit Spain for the summer and become involved with a painter whose ex-wife comes back into the fold. Both films have numerous displays of intimacy, complicated relationship dynamics, and beautiful cities known for encouraging romance as backdrops. Not to mention some selfish and impulsive characters that may make you roll your eyes. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Hamdardi presents a story about how to effectively communicate < Back Hamdardi presents a story about how to effectively communicate Taba Productions, 2023 29 minutes Director/Writer: Stefan Fairlamb and Ashley Tabatabai / Ashley Tabatabai Reading Time: 4 minutes 📷 : Used with permission, Ashley Tabatabai Hamdardi Just A Dream (IXCLFGULPVPQ4U18) 00:00 / 04:27 Chamomile Family dramas Dandelion Movies/shows with heavy subjects Chris Chaisson 2023-09-07 Hamdardi uses the backdrop of the controversial 2017 U.S. travel ban for its compelling story. The short film takes us into the tug of war between Ethan Reynolds, a U.S. immigration officer, and his superior, Hank Henson. When two siblings from Iran, 18-year-old Reza and 9-year-old Parvaneh, are detained at the border, Ethan struggles with whether or not to grant them admission into the U.S. to be reunited with their ill father. Hank, Ethan’s rules-oriented boss, exhibits impatience with the siblings due to the language barrier. Rather than seeking to accommodate them, Hank arranges a flight to send them back to their homeland, as he does with multiple other detainees. As Ethan is currently experiencing separation anxiety, being denied visitation rights to his own daughter, he shows more compassion than Hank and teeter-totters between following orders and rebelling. A voice in one of Ethan’s ears is Carol, a bilingual lawyer pressing Ethan to stand up to his boss. In his other ear is Hank, using his by-the-book approach to influence Ethan. Set in early 2017, writer/director Ashley Tabatabai’s enthralling short highlights the conflicting emotions that many immigration officers likely feel. Though Hank is the antagonist of the story, his mindset reflects that of most people in the middle of a chain of command. “I don’t make the rules” is a familiar refrain for anyone who does not have the freedom to make unilateral decisions. Many use the concepts of just doing their job and following orders to shed any guilt that they feel about a task that is inherently immoral or dispassionate. The act of separating families as part of law enforcement most likely does not sit well with everyone who carries out the task, but they do it nonetheless because they have been trained to obey marching orders and question nothing. Ethan, on the other hand, looks at Parvaneh and sees his daughter. He cannot maintain the emotional distance to simply abide by his boss’s wishes. His inability to disassociate is egged on by Carol, and after a game of Tic-Tac-Toe with Parvaneh, he calls the mother of his child and leaves a voicemail begging her to let him see his daughter. Drawing from his own pain, Ethan not only shows more compassion than Hank but also seeks out any path to reuniting Reza and Parvaneh with their parents. What Hamdardi adeptly highlights is how the inability to communicate can generate impatience and mistrust. Once it is clear that Reza does not speak English, Hank’s attitude becomes more and more hostile. While this could simply be written off as xenophobia, it can also be interpreted as Hank attempting to exhibit more control over a situation than he actually has. Rather than bridging the gap in communication, which would take more time and understanding, he resorts to intimidation by raising his voice and speaking sharply, a common tactic of people in positions of authority. For someone like Reza, who does not speak the language and is playing the role of protector for his younger sister, this elicits resentment and a lack of trust. All he knows is that he is being yelled at. Ethan takes a softer tone and makes more direct eye contact, highlighting how Hank’s approach is unnecessary but serves as an additional way to maintain emotional distance. The story of Hamdardi likely still resonates with anyone who follows the news and remembers this time of uncertainty. While it has a much heavier subject matter, the film reminded me of the early 2000s one-location comedy The Terminal . Tom Hanks plays an eastern European traveler stuck in the JFK airport for an extended period of time. He too encounters a language barrier with the employees of the airport, and despite the disconnect, must learn how to coexist and communicate with them until he can be on his way. Both films accentuate the importance of showing patience, making effort and demonstrating compassion with people from other cultures, as well as taking a personal risk to do right by others. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Anatomy of a Scandal emphasizes the difference between facade and reality < Back Anatomy of a Scandal emphasizes the difference between facade and reality 3dot Productions, 2022 45 minutes Creator: David E. Kelley and Melissa James Gibson Reading Time: 5 minutes 📷 : Used with permission, Netflix Anatomy of a Scandal True Crime Investigation (D3SGMJXWKFQOQMKJ) 00:00 / 06:21 Barley Movies and TV shows with a lot of dialog Honeybush Nonfamily dramas with strong adult and/or socioeconomic themes Reba Chaisson 2023-07-10 Erving Goffman, a social theorist, coined the concepts “front stage” and “back stage” to convey that we all have a public-facing persona, or front stage, that is very different from our private one, back stage. For those of us who are heavily invested in our career aspirations, particularly as they relate to politics, the stakes are high. In this case, realizing them and gaining influence relies heavily on our front stage appearance. How well we take care of this can be the difference between achieving our goals or remaining a relative unknown. The television series, Anatomy of a Scandal , drives this home, as it centers on a crisis faced by an affluent, political family in Britain. The six-episode story presents Peter Whitehouse, a very handsome, eloquent, and perfectly well-dressed member of the British Parliament accused of raping Olivia Lytton, a colleague in his office with whom he had a long-time affair. While both admit to the affair, it is the context of their last encounter that is in question. Before the story breaks, Peter, played by Rupert Friend ( Homeland , Asteroid City ), rushes home to tell his wife, Sophie, about both the accusation and the affair – in that order. Keenly aware that it would be disruptive to his family, made perfect with his beautiful wife, two kids, and even a housekeeper and dog, Peter uses a political consultant to help control the story. Sophie Whitehouse, Peter’s partner since their time at Oxford University, doesn’t receive the news well, and the cynical political operative in their living room doesn’t help matters any. Peter admits to the affair, but he vehemently denies the rape and the case goes to trial. While not a political thriller, Anatomy of a Scandal is riveting, with some special effects that add suspense to the drama, tempting us to binge watch the series. It also helps that the story is not contained to the courtroom, but moves throughout London, taking us in, out, and around offices, homes, and Westminster Abbey, all of which are nice distractions from the extensive dialog in the series. As an affluent political family, it is important that the Whitehouses, whose name likely stems from the U.S.’s own sex scandal during the Clinton administration, display both the accoutrements and demeanor of their class to maintain appearances. Thus, Sophie attends court with Peter, despite things being less than harmonious at home. In this narrow sense, the series is similar to The Law According to Lidia Poët . While Lidia presents as a member of Italy’s wealthy and influential class, she has no money of her own, despite growing up wealthy. She is even kicked out of her apartment, which forces her to move in with her brother and his family. Despite this, Lidia continues to dress like a member of the elites. In Anatomy of a Scandal , Peter and his family present as unified, and they possess the wealth and influence their presentation suggests. Like Lidia, though, this outward appearance of unity is inconsistent with a core aspect of their private life, the increasing disintegration of the family’s harmony at home. Another focal point of the series is the highly skilled prosecutor, Kate Woodcroft. Played by Michelle Dockery ( Downton Abbey , The Gentlemen ), Kate insists on handling the case herself, and believes, quite vehemently, that Peter is guilty of rape. In the courtroom, she skillfully questions both the accuser and the accused about the most minute details of their affair and the ensuing event. Both provide equally eloquent and impressive testimonies, as respective versions of their sexual encounters and the rape are shown through flashbacks. Nearly every response to every question is upsetting to Sophie, as the intimate acts they describe are familiar to her – at times even overwhelming for her. Complicating the trial is Peter’s long-time connection to the prime minister. A best friend since college, the prime minister stands by Peter, asserting his innocence to the press and suffering political backlash for it. For his part, Peter, with great eloquence, self-control, and even humility, focuses on maintaining appearances so as not to blow up his chances of realizing his political aspiration to succeed his friend as prime minister. After a while, the series begins to feel like a game of Whac-a-Mole as more and more details of Peter’s affair come to light, and he then feels compelled to explain away the events to Sophie, played by Sienna Miller ( American Sniper , The Lost City of Z ). For appearances, she is pressured to be in the courtroom with him, but repeatedly hearing the details of their relationship is excruciatingly painful for her. Each time, Peter eloquently rationalizes what was revealed, essentially conveying that the details are not what they seem and again reasserting his innocence. And each time, Kate ramps up her cross-examination, and grows even more determined to prove his guilt. Peter’s seemingly daily explanations prime his wife to stay in the fight with him, and essentially, mentally prepares her for the next day’s revelations. But between the details, political pressures, the press, and the poignant questions by the prosecutor, Sophie becomes increasingly unable to maintain the facade. Oxford-educated like her husband, Sophie mentally relents and gives in to her instincts, wondering about the man she married and why such an accomplished and skilled prosecutor took on this case. She begins asking some questions of her own, which gradually reveal truths about who people are and what the trial is about. What we learn is that like most situations in life, things are not always as they seem. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

A Brush of Violence makes us consider how we handle disappointments < Back A Brush of Violence makes us consider how we handle disappointments DLW, 2023 40 minutes Director/Writer: Daniel Lawrence Wilson Reading Time: 5 minutes 📷 : Used with permission, Daniel Lawrence Wilson A Brush of Violence Echo Mountain (T4UAWDOFDJONIQJD) 00:00 / 05:26 Ginseng Suspenseful and intense thrillers Dandelion Movies and TV shows with heavy subjects Reba Chaisson 2023-08-21 “Always remember why you started in the first place.” Popular wisdom on adversity contends that how we respond to disappointments and setbacks reveal a lot about our inner strength and focus. Do we persist when things initially don’t go our way, or do we cut and run in a different direction? I think the thinking here is simplistic since it considers neither the context of our lives nor our complexity as individuals. In other words, we neither cope with nor respond to happenings in the same ways. A Brush of Violence highlights this issue, but also leads us to consider our own fragility as it relates to our passions and disappointments. A Brush of Violence centers Vio, a reclusive artist who is famous for his provocative and violent paintings. After years of anonymity and being isolated in his home, he requests that Akila, a photographer, come to his home to take pictures of him that would amount to an unveiling of the man behind the paintings. Played by Mia Krystyna ( Solitude , A Letter on Loss ), the sedate and unflappable Akila is initially hesitant, though also curious why he chose her. She accepts Vio’s invitation, realizing it as a rare opportunity to boost her career ambitions. Darren Streibrig’s cinematography for the film is dark, fitting for the subject matter about a man who rarely ventures beyond the brick masonry and stone walls of his vast, eerie, and isolated estate. Joseph Holiday and Snakes of Russia’s soundtrack of low notes and shrieking violins add an ominous tone that hangs throughout the presentation. When combined with the minimal though profound dialog, it completes the film’s doomy feel. So, when Vio, played by Yavor Vesselinov ( The Bridge , Adultery ), asks Akila how far she will go to be remembered, we get the sense that something dark and unimaginable might happen during her visit. The 40-minute film contains some unexplained symbolism with flashes of color and masks. This may be frustrating for some of us since we’re not keen to Vio’s experiences, motivations, and what brought him to his life as a recluse. But films of all genres and lengths contain elements that are annoying and off-putting. I am reminded of several Spike Lee films that are laden with symbolism and special effects forced into the productions, disrupting an otherwise seamless movie-watching experience. The 2006 film Inside Man and the 1991 hit Jungle Fever come to mind. Both were, nonetheless, engaging films with strong lessons. In A Brush of Violence , the annoyance of the symbols is dampened by writer/director Daniel Lawrence Wilson’s use of multiple locations and the large cast of extras appearing in scenes at a bar and an art gallery, for example. Unusual for short films, these elements seem to make the movie come up for air after what feels like a dark and suffocating visit with Vio. Over an eerie silence, Vio and Akila engage in a conversation that gently stirs our emotions with light fingertips as the two use few words to talk about passion, aspiration, and ego. At one point, Vio, in his light, monotone voice advises Akila to “Always remember why you started in the first place” and later asking rhetorically, “What if there was never a day you were forgotten?” Vio’s musings hint that he lost himself sometime during his career, and that the passionate painting he once relished was somehow derailed. Despite his famed accomplishments, he is deeply saddened by not having fulfilled his ambitions and is now concerned about his legacy. In this sense, A Brush of Violence is similar to the passion exhibited in the 2008 tearjerker, The Wrestler . Mickey Rourke received an Oscar nomination for his role as Randy “The Ram,” a retired wrestler who has settled into a life outside the ring. While he works to make amends for his past failings as a father and husband, he longs for the fame and popularity he once reaped from the sport. He seizes the opportunity to get back into the ring, telling his fans that they are the only people to tell him when he’s through “doing his thing.” Passionate but not as brazen and vocal, Vio in A Brush of Violence is similarly concerned about his legacy and wants to solidify it on his own terms. I think many of us, especially those over 40, can relate to this. We begin our work lives with every intention of doing what we love, but we abandon it for practical reasons, or we are forced to leave it because of a life event. Also, sometimes, crap just happens! Our response to these disappointments varies, for instance dabbling in our passions on the weekends or returning to them after the dust has settled in our lives — to restore the essence of ourselves. I’m hoping Vio’s response to his disappointments is the exception. Check out this intriguing film and you’ll see what I mean. 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< Back From the World of John Wick: Ballerina entertains while projecting subtle messages with a big punch Lionsgate, 2025 124 minutes Director/Writer: Len Wiseman / Shay Hatten and Derek Kolstad Reading Time: 4 minutes From the World of John Wick: Ballerina Fight in the Shade (EKIKGL4QFG9IHJ3G) 00:00 / 05:56 📷 : Used with permission, visualsofazmet https://www.instagram.com/Visualsofazmat/ https://x.com/visualsofazmat1 Rosemary: Movies and TV shows with intense action Masala Chai: Movies and TV shows about toughness and athletic competition Reba Chaisson 2025-06-11 When my kids took Tae Kwon Do, I remember their teacher constantly harping on the fact that body size doesn’t matter. That even if the kids were small in stature or girth, they could take down someone tall and big because they were quicker, more agile, and perhaps even stronger than the larger person. Being a fan of movies, I’ve heard this a lot since then in films like the original Karate Kid and Enemy of the State , although I have to say I’ve never seen it done in real life. (Then again, I don’t watch fights in real life!) I can now add From the World of John Wick: Ballerina to that list of movies making this claim. The latest installment in the John Wick series does not disappoint in its action nor story, but I think its much more subtle message packs the biggest punch. From the World of John Wick: Ballerina ( Ballerina ) opens with a mildly bruised and brooding young girl sitting alone in a police station holding a snow globe of a ballerina. The inciting incident is the invasion of the young girl’s home by well-armed fighters. They arrive at the water isolated Czech Republic compound like Navy Seals, slowly and stealthily lifting their heads out of the water under the cover of night, quietly killing armed guards, and engaging in hand-to-hand combat. They encounter quite the challenge, however, with Eve’s father, Javier (David Castañeda), who is not only determined to protect his 8-ish-year-old daughter Eve, but who is also quite skilled himself. Ultimately, Eve ends up alone and is taken in by The Director (Anjelica Huston), who heads the Ruska Roma crime organization where they not only teach ballet but train the students to become lethal weapons themselves. Ana de Armas plays the adult Eve in Ballerina . With the bitter pill of her father’s loss on her tongue and a promise to avenge his death, she is further toughened by The Director who insists she repetitively practices dance movements even while blood soaks through her pointe shoes. “Again!” asserts The Director. “Again!” Nogi (Sharon Duncan-Brewster) is equally tough as the fighting teacher. When Eve continues to get beat by a male opponent in class, she becomes upset and claims she “can’t” beat him. With intensity, Nogi exclaims that she is allowing him to dictate the terms of the fight and adds that she must “fight like a girl.” I love this unpretentious movie. Not only do The Director’s and Nogi’s teachings emphasize winning, but they project the reality that female fighters are more often than not disadvantaged in physical battles. Traditional methods are male-developed and male-centered and thus do not work effectively for females. This means that the latter must play their own game, use whatever is at their disposal, and occasionally break rules if they must. We see Eve put the school’s lessons into practice when she gets her first assignment. More so than traditional weapons, she uses dishes, groin kicks, and eye gouges to get the advantage on her male opponents. We continue to see this creativity (and frankly, entertainment) throughout the film. What it demonstrates is that women have, indeed must have, a more strategic approach to fighting, not just physical battles but dealing with other challenges as well. What we learn also from this film is that maturity enhances the ability to set aside emotions. When Eve and John Wick (Keanu Reeves) battle, for instance, she seems unable to compete. It is as if she is back in school unsuccessfully fighting against her male competitor on the mat. Like then, her objectivity is lost and she is fighting with emotion, proving Nogi’s point that when emotion takes over, she is unable to reason, see things clearly, and play to her strengths. While I love the powerful themes underlying Ballerina , I would argue that they do not just apply to women but also to people of color and other disadvantaged social groups. To be fair, the film hints at a bit of this with its portrayals of Eve and Nogi, both actresses of color. With the deck stacked against these groups, all must prepare their mindset and develop strategies to deal with the big and tall obstacles they regularly (and will inevitably) face. I like the structure of this film because it presents like a game. It requires toughness, creativity, and wit – all while also requiring that you abide by a set of rules. This is the function of The Continental, a hotel that serves as a safe haven for assassins in the John Wick series. While being a guest at The Continental, certain rules cannot be broken. In this sense, Ballerina reminds me of movies like The Hunger Games series and Escape Room , all of which require protagonists to use their wits to survive either physical battles or other constraints imposed upon them over the course of the films. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back Perfect Days reminds us to count our blessings Master Mind, 2023 123 minutes Director/Writer: Wim Wenders / Wim Wenders and Takuma Takasaki Reading Time: 5 minutes Perfect Days Warmth And Wonder (E97ZYSRMYWTFIXZS) 00:00 / 05:33 📷 : Used with permission, Christian Niemann https://www.instagram.com/justbychris/ https://twitter.com/justbychris https://www.behance.net/justbychris Jasmine: Movies and TV shows with heart, positive vibes, and warm messages Sage: Movies and TV shows with low-key characters Chris Chaisson 2024-02-28 A frequent topic amongst news outlets and culture critics is the seemingly endless rise in depression, particularly amongst adolescents. There are several theories on why (e.g.. social media pressures, financial struggles, loneliness, etc.), and they’re probably all at least a little bit correct. The sheer number of hypotheses might pinpoint the cause: life has gotten too complicated, and those who can simplify it often remain the happiest. I harken back to an episode of the ‘90s sitcom Frasier , where Frasier creates a long and detailed bucket list after seeing a false obituary of himself in the local paper. His dad cautions him against trying to accomplish all these random, herculean tasks, saying, “You know, I think what you discovered this week is that something's missing from your life. And before you start to fill it up with everything but the kitchen sink, I think you ought to just ask yourself, "what do I really want? What is really going to make me happy... now?" Wim Wenders ponders this notion in his latest film, Perfect Days . Set in Tokyo, Perfect Days covers the daily routine of Hirayama (Koji Yakusho, Babel ), a very kind but somewhat aloof man who cleans public toilets for a living. Hirayama sleeps on the floor of his home and wakes up every day to the sound of a neighbor sweeping the sidewalk. When doing his work, he patiently waits for bathroom attendees and even lets them in when the bathroom is technically closed. Nothing seems to bother him about his job or the behaviors of others, who often shuffle past him as if he is not there. On his breaks, he takes time to stare at the greenery around the parks and public areas he is in, direct people who get lost, or comfort children looking for their parents. His assistant Takashi (Tokio Emoto, Outrage ), much younger than him, is less committed to and enthused about the job, but maintains a good rapport with his cleaning partner nonetheless. While Hirayama’s existence seems lonely and mundane, he takes constant joy in the simplicity of his daily agenda. As the film follows its protagonist through every single scene, it is easy for the audience to at first feel like something is missing. Often, the conflict in our favorite yarns is produced from frenzied, anxiety-inducing run-ins with villains, bullies, or nature. Perfect Days carries a calmness and quirkiness throughout, where the antagonist becomes less an actual person and more a desire for complexity. Hirayama’s routine slowly exorcises this need from the viewer, and we see the positives of enjoying what we have without looking for something more. The characters around Hirayama serve as the audience’s subconscious, providing a contrast to his content nature. He has several interactions with people who are busy, anxious, or too complex for their own good. For instance, Takashi opines about his social life early on in the movie and later ditches work with no heads up. A mother in the park scowls at Hirayama for comforting her son after they get separated. Some of the bathroom attendees avoid eye contact and treat him as though he is a bother, or worse, invisible. The biggest contrast is provided by Hirayama’s pre-teen niece, Niko, who runs away from home and visits him. Few things illustrate a lack of happiness like running away from home as an adolescent. Her desire to visit him not only shows her affection for him but also her recognition of how he differs from her mother. Niko’s frequent tendency to pull out her smartphone to take pictures and perform Google searches sharply contrasts with Hirayama’s use of his phone for nothing but phone calls. At one point, Niko mentions Spotify, which he has never heard of, and he confuses it for a brick-and-mortar store, much to her delight. Ultimately, when Niko’s mother tracks her down, she reunites with Hirayama and carries on a conversation with him that very much highlights their differences. Though the love is clearly there, she cannot fathom the thought of him being pleased with his modest lifestyle. While these interactions call attention to the anomaly of living such a simple life, they also reveal people’s willingness to connect with Hirayama where he’s at. For instance, one bathroom attendee, whom he never actually meets, leaves a game of tic tac toe behind for someone to join in. Hirayama finds the game and makes a new move every day, enthused by the interaction. Just the same, he attends a restaurant every day where the staff knows him by name and greets him with a glass of water “for his hard work.” Though not directly called out, these moments are clearly bright spots in his day, an experience many regulars at restaurants can relate to. All in all, Perfect Days and its protagonist urge us to be content with and appreciative of what we have and what’s positive in our lives, whether that be friends, family, or an enjoyable view. Whether or not cleaning toilets brings Hirayama joy, the interactions his job allows him to have with others, and the calming environment it places him in, ultimately lead to the happiness that many others cannot achieve in much more lucrative professions. His enduring spirit can be a lesson to us all: figure out what really makes you happy, shut out everything else, and enjoy both the clarity and simplicity of your life. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

The Bear presents layered characters struggling in a pressure-packed profession. < Back The Bear presents layered characters struggling in a pressure-packed profession. FX Productions, 2022 30 minutes Creator: Christopher Storer Reading Time: 5 minutes 📷 : Licensed from Shutterstock The Bear Need for Speed (ALTE9ZSD0ZNQDXAR) 00:00 / 05:57 Chamomile Family dramas Saffron Movies and TV shows with great visual effects Chris Chaisson 2022-09-07 On the big screen, the director calls all the shots and gains notoriety when a movie is well-received. However, in television, directors do not get nearly the same level of publicity or recognition. Often considered interchangeable, any given show can have several directors, even in just one season. Given this stark difference between television and film, the shooting style for shows can often be generic. For this reason, the new and critically acclaimed series The Bear stands out. Its stylized direction offers a contrast from many of its contemporaries and, paired with exceptional writing, has created a memorable first season. Starring Jeremy Allen White ( Shameless ), The Bear follows Carmen “Carmy” Berzatto, a world class chef, and the back of the house crew at his family-owned sandwich shop on the south side of Chicago. The show is chock full of references to The Second City, be it the transportation, major streets, architecture, or consistently disappointing sports teams (I’m not bitter at all). On the surface, the show is about the turbulence and pressure that comes with working in food service. However, as the show’s title is a reference to the protagonist’s nickname, the deeper meaning of the half-hour drama is Carmy’s relationship with his family, specifically his deceased brother Michael (played in flashbacks by The Walking Dead ’s Jon Bernthal). The Bear utilizes every element at its disposal to convey the stress of running a kitchen. Creator Christopher Storer ( Ramy ) selects shots that make the viewer feel as though they are in training and shadowing the chefs. To heighten the senses, the show incorporates fast-paced music in the background as they toil, sometimes increasing in speed when they butt heads with one another. The camera often follows the characters around every corner as they slide past each other, shout instructions and multitask. It frequently swish pans between speaking characters and swerves as it circles the kitchen island. The audience experiences an abundance of close-ups, specifically when a character is stagnant as they taste-test or check order receipts. Although there is plenty happening in regards to the restaurant in each episode, the FX series does not deny its audience three-dimensionality with its main characters. Carmy is an award-winning chef who has worked at the best restaurants in the world, so resurrecting the modest sandwich shop proves to be a humbling experience for him. In the later episodes, we learn what drove him to be so accomplished. His cousin Richie (Ebon Moss-Bachrach, Girls ) wants to preserve the old feel of the shop and clashes with Carmy, who tries to run a tighter ship. While he is protective and loyal, Richie exhibits obnoxious, unfocused, and misogynistic behavior. Though he plays an antagonistic role at times, making Carmy’s job harder for seemingly no reason, a lot of his demeanor is explained by him masking the pain he feels at the sudden death of his best friend Michael. Two characters that try to help Carmy, but actually frustrate him, are Sydney (Ayo Edebiri, Big Mouth ), the second-in-command chef, and his sister, Natalie “Sugar” Berzatto (Abby Elliott, How I Met Your Mother ). Sydney is ambitious and innovative but often tries to force change too quickly. A young woman and relatively new to the team, she struggles to gain the respect of the rest of the kitchen. Her efforts to connect with Tina (Liza Colón-Zayas, In Treatment ) are initially rejected, and she continuously deals with Richie talking down to her. Through some successes along with Carmy’s support, she gains confidence but still carries doubt from her past shortcomings as a culinary entrepreneur. Natalie, on the other hand, expresses concern for Carmy’s well-being. While not a fan of the restaurant, her love for her brother is obvious in how frequently she reaches out to him and attempts to get the restaurant on solid financial ground. The Bear’s best aspect is that it allows you to empathize with every character. From a professional standpoint, anyone who has worked in food service can relate to how the main characters cope with rough shifts and unwind afterward. For instance, Carmy goes home and, despite all his cooking expertise, makes a peanut butter and jelly sandwich. The show also allows you to relate on a personal level. Anyone watching has grieved the death of a loved one and maybe even tried to continue working a job while doing so, like Carmy and Richie. Any viewer can relate to feeling like an outsider in a new job or school, especially when coming off a failed venture as Sydney does. Many audience members have had an aloof sibling that they wanted to open up to, similar to Natalie’s experiences. While very different people, the one thing the main cast of characters has in common is their struggle to overcome self-doubt. All of their emotions are easy to understand and add depth to their interactions. The Bear will get your blood pumping during the lunch rush but may make you misty-eyed when the shift finally ends. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back The Holdovers lends depth to each of its fatefully stuck-together characters Focus Features, 2023 133 minutes Director/Writer: David Hemingson / Alexander Payne Reading Time: 6 minutes The Holdovers Bright Sunny Day (G7U0H1UMMC4MVGLG) 00:00 / 06:04 📷 : Used with permission, Agustin R. Michel https://www.instagram.com/agustinrmichel https://twitter.com/AgustinrMichel https://www.behance.net/agustin_rmichel Mint: Movies and TV shows in cold weather and blizzard conditions Jasmine: Movies and TV shows with heart, positive vibes, and warm messages Chris Chaisson 2023-11-06 If you’re an avid TV watcher, you’re most likely familiar with the term “bottle episode.” It often refers to an anomalous episode in a series where two or more characters are stuck together due to some extenuating circumstance (i.e. locked in a room, stuck in an elevator). Often, the two characters have nothing in common or even have an adversarial relationship, and over the course of the episode, they learn not only more about each other’s interests but all of the ways they’ve misunderstood one another. This story device can make for either a memorable, compelling episode (i.e. “The Suitcase” episode of Mad Men ) or, in other cases, the absolute worst episode of a series (I’ll be nice). Sometimes, it forever changes the relationship while other times, like in most episodic sitcoms, the segment is of zero consequence. Alexander Payne’s newest film, The Holdovers , serves as a heartwarming example of such a story device, indeed having a lasting effect on its main characters. Set in the early 1970s, The Holdovers revolves around Paul (Paul Giamatti, Sideways ), a long-tenured boarding school teacher, and one of his students, Angus (Dominic Sessa). As Christmas break approaches, the headmaster assigns Paul to remain at the school to supervise the students who cannot return home. What starts out as a handful of students quickly dwindles to just Angus once the other children leave. Over the course of two weeks, Paul and Angus become more well acquainted and develop an unlikely friendship, with the help of the lead chef, Mary (Da’Vine Joy Randolph, On the Come Up ). The age gap and the student-teacher dynamic are enough to make Paul and Angus’s initial discord believable. On top of that, it is clear that Paul has developed a disdain for his students. Near the beginning of the film, he strolls through the classroom humming a tune as he places graded tests on each student’s desk. His apparent bliss as he delivers their subpar scores suggests that he takes delight in their underperformance. Paul offers them the opportunity for a makeup quiz, which Angus rejects due to the difficulty of learning new material right before holiday break. Paul rescinds the offer and tells everyone to thank Angus for their bad grades, making him unpopular with his classmates. Though his response is somewhat warranted, Paul’s schadenfreude suggests he enjoys seeing his pupils struggle. As the story progresses, he reveals that he views the boarding school students as being born with a silver spoon in their mouths. Their privilege makes it hard for him to feel much empathy on the surface, a prejudice that Mary helps him to shed over time. Angus serves as just the co-lead to change Paul’s perspective. He is a child of divorce and has been kicked out of school before. Should it happen again, he will be sent to military school, a thought he dreads. His initially pompous disposition causes Paul to view him the same way as his peers, but Angus opens up about his own interests while coaxing Paul into both personal conversations and more spontaneous decisions. By nature, Paul is a shut-in with his own degree of pretentiousness. Underneath it, he lacks self-confidence about anything outside of academia and even certain elements within it, revealed later in the film. Initially pressed into more open conversation by Angus, Paul starts to voluntarily share details about himself and his past. Despite previously coming across as stuck-up, Angus reveals himself to be not only curious but free of judgment, encouraging Paul to be more of an open book. Mary serves as the go-between for both Paul and Angus. Despite her role in Paul and Angus’s life, she has her own troubles and family issues independent of them. As the lead cook in the school, she copes with the recent loss of her twenty-something son, who had attended the boarding school before joining the military. Though more down-to-earth and frank than Paul, Mary still disguises the pain that she feels on a regular basis from her loss, which comes out at inopportune moments. She feels a connection to Paul, who regularly defends her against classist remarks from the students. Playing the mediator, she serves as Paul’s conscience whenever he wants to dismiss any requests from Angus or retreat into his biases on what he views as trust fund babies. While the holidays can often be a melancholy time for those estranged from their families, it can also serve as a much-needed recess from the hustle and bustle of our routines. This timeout allows us to re-assess our relationships and possibly come out on the other side with a different perspective on the people we share our space with, be they colleagues, friends or family. As with the aforementioned bottle episodes, The Holdovers serves as a great reminder not to judge a book by its cover. As the old saying goes, “Be kind, for everyone you meet is fighting a battle you know nothing about.” (Ian Maclaren). Though Angus has an initial view of Paul as a curmudgeon standing in the way of what he wants, he decides to be more understanding, likely brought on by the absence of his fellow students and school routines. Similarly, Paul realizes that Angus, and by extension any one of his other students, could be experiencing a turbulent personal life regardless of their financial advantages. The Holdovers seems very similar to the odd couple pairings of Up or Good Will Hunting . By unlikely circumstance, two characters who are polar opposites get stuck together and slowly see the potential that each other possesses. At a time where it can be easy to profile and vilify those of privilege, such stories allow for three-dimensionality among all of us. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Tardes De Sol. Noches de Agua. (Afternoons of Sun. Nights of Water.) provides a glimpse into the many systems perpetuating violence against vulnerable people. < Back Tardes De Sol. Noches de Agua. (Afternoons of Sun. Nights of Water.) provides a glimpse into the many systems perpetuating violence against vulnerable people. CAY Productora, 2019 20 minutes Director/Writer: VD Menzella Reading Time: 3 minutes 📷 : Used with permission, CAY Productora Tardes De Sol. Noches de Agua A Dark Past (JLBBO78WK8JWZXUT) 00:00 / 03:19 Dandelion Movies/shows with heavy subjects Ginger Thought-provoking movies/shows Chris Chaisson 2022-09-25 Tardes De Sol. Noches de Agua. centers around Lamia, a young woman who is developmentally disabled. She resides in a small Argentinian village under the close supervision of her devoutly Christian mother. Forced to dress conservatively and refrain from any hint of promiscuity, Lamia draws and writes in her diary as an outlet for her fantasies. She creates a character, Sister Rosa, to contrast with the deity that her mother worships and wants her to fear. In her ventures through the village to deliver groceries and her mother’s knitting to neighbors, she develops an infatuation with Rabbit, a local man in the neighborhood who seduces her. After he violently assaults Lamia, she goes into a comatose state, prompting her mother and the village priest to nurse her back to health. This stellar short film highlights several significant social issues, not the least of which are the attempts of men, religious institutions and older generations to suppress women’s sexuality. Despite the close parental supervision, Lamia lives a very lonely and vulnerable existence. Her mother forces her to recite mantras about the evil nature of men, instructs her to conceal her figure at all times, and physically punishes her upon finding out about her crush on Rabbit. Director VD Menzella highlights this suppressive environment through shots of Lamia hiding her diary or avoiding eye contact with the other characters. Rabbit’s disturbing assault illuminates the reality that many people with developmental disabilities become victims of violence, despite the frequent narrative that they are more often perpetrators of it. The motive behind many such assaults stems from the culprit’s belief that they will get away with it, largely because the victim’s credibility is questioned. Lamia’s mother, for instance, believes that she has harmed herself, a theory that the local priest adheres to without much pushback. The skepticism and attempts to control women’s behavior have historically led to torture in the name of religion, be it through execution, exile, or other means. Such institutions do offer support and comfort to community members, giving them direction and hope during tough times. However, they also chastise conduct and thought processes that are different from theirs. As opposed to showing compassion, Lamia’s mother and priest instead ostracize her. T ardes De Sol. Noches de Agua. is reminiscent of feature films such as Boys Don’t Cry and Precious . Lamia, Brandon Teena and Precious are all vulnerable protagonists existing in environments where they are subject to abuse because of their sexuality, gender and skin complexion, either in the household or the larger community. While the films all have different conclusions, they each center around a young character attempting to survive and break free from authoritarian surroundings. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!