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Clarice shrouded in mystery and intrigue with diverse cultural representations < Back Clarice shrouded in mystery and intrigue with diverse cultural representations Secret Hideout, 2021- 60 minutes Creator: Alex Kurtzman and Jenny Lumet Reading Time: 4 minutes 📷 : Licensed from Shutterstock Clarice Miles Away (CFUTYOYA5NRV01VN) 00:00 / 04:40 Ginseng Suspenseful and intense thrillers Matcha Mysteries or whodunnits Reba Chaisson 2021-07-25 A television series spinoff of the 1991 film, Silence of the Lambs , Clarice features very smart but green FBI agent, Clarice Starling. While the crimes are gruesome, the series does not present a likeness of Dr. Hannibal Lecter (at least not yet), so no need to prepare for the show with a glass of Chianti. In each week of season 1, the series unveils a piece of the evolving story, which contains multiple creepy antagonists steeped in a diabolical murder conspiracy. Despite the challenges of the case, Clarice continues to be haunted by her confrontation with Buffalo Bill, the pathological villain from the movie. Like her namesake in the film, played by Jodie Foster, Clarice has a naïve fearlessness about her that makes her very good at her job. Supporting her naivete is the character’s roots in Appalachia, which her mild southern drawl triggers with each line of her dialog. As the show reveals, this makes Clarice uniquely qualified for cases in rural geographies. And her naiveté helps her sustain a level of humility that keeps her engaged in investigations with a child-like curiosity. Played by Rebecca Breeds ( The Originals , Pretty Little Liars ), Agent Starling has a special ability in profiling offenders of gruesome crimes, and once they are pinpointed, tapping into her own instincts to solve them. Consistent with the types of crimes her team investigates, the aesthetics of the show are dark. In fact, the scenes often occur in the dimly lit halls of its east coast FBI headquarters, or at night in wet and sometimes muddy conditions. The homes and buildings they visit are designed of old architecture with dark-brown, spacious interiors and a bottom-up vantage point of long, straight staircases—all adding to the frightening nature of the show’s subject matter. Clarice’s roommate and best friend is Ardelia Mapp, a Black woman and FBI agent, played by Devyn A. Tyler ( The Underground Railroad , Antebellum ). Despite graduating from Quantico with top marks, she researches cold cases in isolation rather than investigating active cases with fieldwork, a prized part of the job. Mapp’s frustration with her job assignment is revealed during a conversation with Starling in which she excoriates the FBI for denying her opportunity while Starling’s gets dropped into her lap. Starling empathizes, even sympathizes with her friend but is at a loss for what to say or do. “The work,” Mapp responds in exasperation. The poignant exchange drives home statements about systemic racism and the complexity of friendship across race and region. The show continually revisits the salience of race in the FBI, which, in real-life, has been long‑rumored to be laden with discrimination. In Episode 4, for example, a Black male security guard, also an FBI agent, invites Mapp to a meeting of The Black Coalition, a support group for Black agents in the FBI that assists in obtaining opportunities in the Bureau. While she respectfully declines, asserting, “it’s not for me,” the frank exchange makes it clear that the show is not shying away from the hard realities of being Black in the Bureau. Lucca De Oliveira ( Seal Team , The Punisher ) plays Tomas, a young, military-trained sniper and Hispanic member of Clarice’s team. Showing strength in courage, he befriends and partners with Clarice when she is dismissed and admonished by her boss and deals with pranks by other FBI agents. Her no‑nonsense and reserved boss, played by Michael Cudlitz ( Southland , The Walking Dead ), surprises Clarice and the audience, though, at every turn. Initially resistant to her joining his team, his trust of her instincts, and her hope of his fair treatment, grows as the series moves on. For viewers who love crime mysteries shrouded in dark aesthetics, with smart, racially, ethnically, and regionally diverse characters and relationships, this is a series you might enjoy. Just don’t expect Hannibal Lecter to be lurking around. 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!

Swarm offers interesting social commentary on excessive fandom < Back Swarm offers interesting social commentary on excessive fandom Amazon Studios, 2023 30 minutes Creator: Janine Nabers and Donald Glover Reading Time: 5 minutes 📷 : Used with Permission, Izzy Aghahowa https://izzyaghahowa.co.uk/ Swarm My Sweet Lady (F9HC1NRUFKQHFVWE) 00:00 / 05:29 Rosemary Movies and TV shows with intense action Yarrow Movies and TV shows about illness or set in hospitals or similar medical institutions Chris Chaisson 2023-03-29 “Who’s your favorite artist?” For those that follow pop stars in the era of social media, we know the danger that comes with criticizing any of them. The biggest Top 40 artists all have their own armies (or in one case Navy ) who go to great lengths to bully critics into silence and obscurity. While it would be easy to tell those super-fans to get a life, their dedication speaks to an unbreakable bond we often feel with celebrities that have brought us so much joy. The stars’ personas and extravagant lifestyles provide fans with the same escapism that the art itself does. The cyberbullying and intimidation tactics reflect our desperation to hold onto that dopamine rush. The lengths to which anyone chooses to take their fandom is an individual choice, heavily influenced by the need to hide from real life circumstances. Such can be said for Dre in the new Amazon series Swarm . Played by the talented Dominique Fishback ( The Hate U Give ), Dre is a lonely teenager who idolizes world-famous pop singer Ni'Jah. Her fandom becomes so intense that she responds to any criticism, ill sentiments or even indifference of Ni'Jah with brutal violence. After losing a close friend, Dre goes on a killing spree across several different cities, with all of her victims having in common their disdain for Ni'Jah’s talent and fame. Outside of escaping culpability, Dre’s ultimate goal is to see Ni'Jah up close and personal. The series is very cleverly cast, as it consists of many actors who are adjacent to staggering pop star fame or are indeed pop stars themselves. The supporting characters include singers Billie Eilish and Chloe Bailey, Paris Jackson, and Rory Culkin. The latter two are the daughter of the late Michael Jackson and brother of Macaulay Culkin, respectively. This infusion of personalities and recognizable faces adds to the thematic elements of the show. Donald Glover’s name may be the draw of the series, specifically for fans of the Emmy-winning Atlanta , but the co-creator Janine Nabers deserves a shout-out as well. In addition to writing for Atlanta , she produced episodes for Watchmen , the hit HBO mini-series from 2019. Nabers is also an award-winning playwright and librettist (one who writes the words for an extended musical composition). We’ve seen successful crossovers from the stage to the screen before with writers like Aaron Sorkin, and Nabers’ contributions to Swarm certainly demonstrate her versatility. Beyoncé fans, affectionately known as the Beyhive, may watch Swarm and feel slighted. After all, there are numerous references to real-life events, anecdotes, and details that make it obvious who Ni'Jah is “supposed” to be modeled after. Taken at face value, the series is nothing more than the satirizing of how Beyoncé’s most loyal followers behave, online and occasionally in person. However, if you look closer, much of Dre’s language and behavior (outside of maybe the assaults and murders) applies to fans of several other larger-than-life pop culture figures: LeBron James, Taylor Swift, Katy Perry, Kanye West, Nicki Minaj, and the list goes on. Fans become so swept up in the emotions these figures conjure up that they no longer see a difference of opinion as a positive or even an option. As Dre hops from destination to destination, her experiences become more than just homicidal missions being carried out. Her adolescence and past trauma comes into view, expanding the scope of the series’ premise beyond a parody of excessive fandom and into an examination of mental health and the foster care system. Though these details humanize Dre, her transgressions still overshadow any sympathy the audience might feel. After all, her victims are human as well. Swarm ’s innovation is not in its satirical elements but in who its story focuses around. Many serial killer stories revolve around psychotic, cognitively dissonant White men. They are often well-educated, financially successful, and completely irredeemable. This series instead chooses a young, gender-fluid Black woman suffering the effects of childhood trauma. Despite her past, Dre’s actions remain reprehensible. While her string of homicides begins with people who have questionable moral compasses themselves, it becomes clear that Dre will harm anyone of any background, no matter how virtuous. We see these qualities in anti-heroes such as Dexter, Patrick Bateman or Joe Goldberg, all distinguished White men, in Dexter, American Psycho and You , respectively. However, we rarely see a Black female protagonist allowed to exhibit rage, immorality and violence that they get away with time and again. The connotation of the term satire may mislead you to think Swarm is light-hearted and playful in tone. On the contrary, there are several grim and sobering moments, in addition to the overall violence and raunchiness. Still, viewers can take and leave as much as they want from the show’s overall theme. The series exists as a deeper conversation piece, or something to chuckle about whenever Beyoncé fans get on your nerves. In any case, these 7 episodes convinced me to keep any critical opinions of pop music icons to myself [grits teeth]. 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!

Girls from Ipanema examines the many ways patriarchal power structures prevent women’s independence, specifically in the late 1950s-early ‘60s. < Back Girls from Ipanema examines the many ways patriarchal power structures prevent women’s independence, specifically in the late 1950s-early ‘60s. Prodigo Films, 2019- 45 minutes Creator: Giuliano Cedroni and Heather Roth Reading Time: 4 minutes 📷 : Used with permission, Netflix Girls from Ipanema Bomba Estrella (UH9VYWDEJXXFHIGN) 00:00 / 04:34 Dandelion Movies and TV shows with heavy subjects Honeybush Nonfamily dramas with strong adult and/or socioeconomic themes Chris Chaisson 2022-03-05 “If your dreams don’t scare you, they aren’t big enough.” Hollywood has seen a recent push for stronger leading female roles, with mixed success. As more female writers and directors forge their paths, talented actresses gain the opportunity to show their range. However, with Marvel now dominating both the big and small screens, the definition of “strong female lead” has often become a woman who can punch through brick walls. These portrayals fit in with what’s currently popular but at times interfere with the increased reputation of more down-to-earth depictions (i.e. Erin Brokovich ). This is not to be interpreted as a push to cancel the She-Hulk reboot but simply a memo to exhibit feminine strength outside of the fantasy realm. Enter the period piece Girls from Ipanema , a Brazilian drama about perseverance in the face of chauvinism. Girls from Ipanema examines the many ways patriarchal power structures prevent women’s independence, specifically in the late 1950s-early ‘60s. The two-season series follows Maria “Malu” Luiza (Maria Casadevall), a devoted wife and mother who arrives in Rio from Sao Paulo, Brazil, to discover that her husband, Pedro (Kiko Bertholini), has abandoned her. Left with nothing but the property they planned to establish a restaurant on, she decides to open a bossa nova music club called Coisa Maís Linda with the help of her new friend, Adelia (Pathy Dejesus), and lifelong best friend, Ligia (Fernanda Vasconcellos). Along the way, they also receive help from Ligia’s ambitious journalist friend, Thereza (Mel Lisboa), and business mogul Roberto (Gustavo Machado). Malu’s strength and determination make her one of the most endearing protagonists you will ever see. She is not only fierce but charismatic, most clearly on display in how she greets the club audiences. Malu faces down numerous threats on her club’s operations and proves to be both clever and fearless in her resolutions. Amid jumping through many hoops, she provides inspiration and words of wisdom to her female companions while also learning more about herself. Throughout the series, we see just how many roadblocks the controlling, adversarial male characters set to stand in the way of the women’s autonomy, be it from singing, printing a news story, running a business or raising a family. Most tragic is Ligia’s relationship with the abusive Augusto (Gustavo Vaz), who very much resents her desire to perform on stage or even at parties for fun. As the main characters jump through hoops, they not only discover creative solutions but find helping hands along the way, such as Roberto and Malu’s gruff but loyal alcohol vendor. Girls from Ipanema does not shy away from illustrating any social issues, including classism, racism, sexism and the intersection of all three. Most admirable about the show is its ability to display these ‑isms in their many facets rather than just over-the-top, fleeting, or symbolic ways. In one scene, Thereza pretends to be upset with a fellow female co-worker in order to appease the editor-in-chief watching from a distance. As a housekeeper, Adelia faces verbal abuse from the many wealthy White women she has worked for, and her frustration boils over in a conversation with the more privileged Malu when their club is abruptly flooded, putting them out of business. Malu must figure out how to retain full ownership of her club when the pesky Pedro returns, as property laws heavily favored men. The show even succeeds in showing generational gaps, as Augusto’s mother seeks to enable him and protect him from consequences. Pressed to come up with a comparison, the show is most reminiscent of The Marvelous Mrs. Maisel , a more mainstream show from the same time period about a housewife becoming a standup comedian. Both series dive deep into all the ways that institutional sexism operates in the time period and carries through to present day. 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 Foreigner proves it difficult to play both ends against the middle STK Entertainment, 2017 113 minutes Director/Writer: Martin Campbell / David Marconi and Stephen Leather Reading Time: 4 minutes The Foreigner Mekong Shore (T8VSDV17Y8IKBJIL) 00:00 / 05:04 📷 : Photo by Jack Finnigan on Unsplash Rosemary: Movies and TV shows with intense action Sage: Movies and TV shows with low-key characters Reba Chaisson 2021-07-25 In The Foreigner , Jackie Chan ( Rush Hour ) plays Quan Min, a subdued, London restaurant owner who seeks revenge for the bombing death of his teenage daughter. Unlike Chan’s comedic and fighting characters, this is a dramatic role. In it, he delivers a cogent performance as a grieving and aging widower determined to hold everyone responsible for his daughter’s death to account. Quite simply, he wants “Names.” Pierce Brosnan ( Final Score , Mama Mia! Here We Go Again ) plays Liam Hennessy, an Irish Republican Army (IRA) member turned politician. As a point of history, the IRA claimed responsibility for numerous bombings throughout England from the late 1960s through early 2000s in retaliation for the British settling in Northern Ireland. Given this history, one wonders if the film’s title refers to Liam, the British, or Min, who emigrated from Vietnam. The bombings largely ceased after the two sides signed a peace treaty in 1998 agreeing to share power. In this context, Liam seeks the status and lifestyle lavished upon him by British politicians to keep his former comrades in check. But the task proves daunting as the situation is not as simple as it seems. Caught between a rock and hard place, Liam is forced to choose between appeasing his fellow Irishmen in their disdain for the British, or work with the British to capture his erstwhile companions. Doing either costs him one way or another. The Foreigner takes the audience from the busy, congested districts of London to the beautiful countryside of Ireland. But it relies on strong dialog more so than scenery to move the story along. While the action is immersive and Min intrigues us as we wait with bated breath for what he will do next, the film’s surprises take us aback. In the end, the story affirms that playing both ends against the middle rarely works out. At some point, we are forced to pick a side and to do so with conviction. But it also leaves us to ponder just how much conviction is too much. Regarding Chan specifically, his role here is such a sharp departure from his earlier films that we can’t help but wonder if it represents his transition to playing characters that require more acting and dialog, and less action. According to IMDB, he was about 63 years-old when the film was released, so perhaps age influenced his decision to play “Min.” Indeed, the same transition occurred with Pierce Brosnan who starred in James Bond films in the late 1990s and early 2000s, and gradually moved to less physically demanding roles in Mamma Mia , Ghost Writer , and Bag of Bones . While Denzel Washington and Clint Eastwood were not cast in action roles in their younger years per se, they too transitioned to play older and sometimes wiser characters than their acting counterparts (i.e. The Little Things , Fences , Gran Torino , The Mule ). The same can be seen even with respect to Will Smith. Despite still having a body that puts some 25-year-olds to shame, his characters too require less action than those in his earlier films like Enemy of the State , Bad Boys , and I, Robot . To be fair, Gemini Man and Bad Boys for Life did demand quite a bit of action, though not quite as rigorous as some of his earlier characters. But Smith represents an exception since he has moved in and out of dramatic and action characters throughout his film career (i.e. Ali , Hitch , I am Legend , Hancock , Seven Pounds , Concussion ). Thus, we are not likely to see as sudden a change in his on-screen roles as we do with Chan in this film. Given Min’s mission in The Foreigner , the audience should not be surprised that Chan’s finesse and combat skills come into play. But the grace, humility, and deep humanity he displays throughout, make him a calming presence on the screen. The role is a welcome change from the comedic, hard-action, and undoubtedly physically taxing films of his younger years. Indeed, the reprieve is likely welcomed by the actor. Who says aging is bad? Perhaps, it just means trying something new and striving to get better at it. After all, life isn’t over yet! 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!

Liquor Bank displays the complexities of an intervention < Back Liquor Bank displays the complexities of an intervention Mylineal Films, 2025 15 minutes Director/Writer: Marcellus Cox Reading Time: 4 minutes 📷 : Used with permission, Marcellus Cox Liquor Bank Home Inside (NNYG8BRPFBMJVQUR) 00:00 / 04:58 Dandelion Movies/shows with heavy subjects Honeybush Nonfamily dramas with strong adult and/or socioeconomic themes Chris Chaisson 2025-04-20 Liquor Bank stars Eddie (Antwone Barnes), a recovering alcoholic who relapses right before his one-year anniversary of sobriety when he loses his job. Eddie’s regression causes him to miss a meeting with his support group. This absence, along with a concerned message from Eddie’s mother, prompts Eddie’s sponsor, Baker (Sean Alexander James), to pay him a visit. By the time Baker heads over, Eddie has already awakened from his drunken stupor and started downing more hard liquor. Baker must not only rip his phone from his hand to get his attention but also take the bottle away and chuck it in the trash. As their back-and-forth continues, Eddie makes it clear that he is not only relapsing but having suicidal thoughts. Baker hears Eddie out but pushes back on much of what he says, including the notion that he needs alcohol to get through the day and sobriety is the worst decision he ever made. Eventually, Baker’s rebuttals get harsher as Eddie grabs a tall boy of Budweiser out of the fridge to continue his descent. He patronizes Baker about making a genuine effort to save him from himself, saying, “I think God knows you tried your best. He’ll reward you with your wings when the time comes.” When Baker won’t leave or acquiesce to Eddie’s self-loathing, Eddie grabs a knife and threatens him. Liquor Bank provides insight into how much of a never-ending battle sobriety can be. For people with and without an addiction, liquor can be a crutch for any unfortunate life event. It quickly becomes a manifestation of loneliness and lack of self-esteem. Eddie gives many of the same rationales that you hear from other addicts, specifically when Baker says he is drinking like a sailor. He chuckles and responds that he is drinking more like a Marine, having witnessed “those crazy f****.” Often, it is easier to justify one’s actions by pointing to someone else’s behavior. The back-and-forth between Eddie and Baker also shows the difficulties of being a sponsor. Baker reveals that he advocated for Eddie to avoid jail time after a DUI arrest, adding to his emotional investment in seeing Eddie beat his addiction. Sometimes, being a sponsor means having to put faith in someone’s discipline and willpower that they have not yet exhibited. When they have a setback, you may have to step into a volatile situation. Baker goes to Eddie’s place having no idea what kind of shape he will be in nor where he will be emotionally.. As with many sponsors, Baker hints at his personal experience with the same doubts and vices that Eddie has, another reason that he cares enough to stay. Though having a knife pulled on you may seem like enough to walk away, it is the type of confrontation many social workers face more often than we might expect. Many films about addiction and alcoholism center around a protagonist who has a high profile and must be high-functioning on some level. Flight , for instance, revolves around an alcoholic pilot. A Star is Born spotlights a very popular musician. A lot of the conflict and drama in these movies is based on the profession that the character resides in, the responsibility that they carry and the pressure they feel. In other movies, the addict or alcoholic is a side character that burdens the protagonist, a sibling or significant other whose unpredictable behavior makes the main character’s life harder. Liquor Bank serves as a reminder that many people suffering from addiction do not necessarily have a high-profile profession or any external stimuli pressuring them to be a high-functioning addict. Often, they have no structure or stabilizing force to keep them honest. Such people suffer from loneliness and low self-esteem, and they need the help of someone who anticipates when they will backslide and then finds a way to intervene. While such a character who self-harms and lashes out at those trying to help may not be endearing, they likely remind us of someone we know and love who we could never turn our back on. Baker’s words and actions toward Eddie serve as a reminder that you can hold someone accountable and still let them know they are loved. 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!

Pachinko chronicles a Korean family through multiple generations that leaves their native land for Japan in order to survive. < Back Pachinko chronicles a Korean family through multiple generations that leaves their native land for Japan in order to survive. Media Res, 2022 55 minutes Creator: Soo Hugh Reading Time: 3 minutes 📷 : Apple Studios Pachinko Warmth and Wonder (MDMO3SB9CXXSAPYB) 00:00 / 04:16 Chamomile Family dramas Ginger Thought-provoking movies and TV shows Chris Chaisson 2022-06-07 For most fictional television shows, it can be a challenge to span multiple time periods without some elements of fantasy. We see programs like Westworld and Doctor Who incorporate time travel, but rarely do dramas that exist in a more realistic universe risk pulling the viewer out of the established temporal setting. Much of a show’s appeal to its audience is giving them a sense of comfort with the setting and familiarity with the characters. Therefore, covering multiple generations across an entire century, sink or swim, is quite the experiment. Enter Pachinko , a historical drama focused on how a major world event influenced the life paths of many citizens and their offspring. Created by Soo Hugh and adapted from a 2017 novel by Min Jin Lee, Pachinko chronicles a Korean family through multiple generations that leaves their native land for Japan in order to survive. The trilingual story (unfolding in Japanese, Korean and English dialogue) weaves between separate timelines, highlighting characters in a different culture than their predecessors as well as the same characters in different stages of their lives. Despite its drastic timespan, Pachinko remains a story driven more by character than setting. Solomon (Jin Ha, Devs ) seeks a promotion at his sales associate job but he is wrongfully denied. In order to receive his bump, he vows to close an account back in his native land that he has personal ties to. In doing so, he must travel back and convince the current landowner to sell her property, despite her emotional attachment to the real estate. Meanwhile, in Sunja’s youth, she enters a romance with a prominent married businessman, Hansu (Lee Minho, Heirs ), who impregnates her but will not raise the child. A nomad, Isak (Steve Sang-Hyun Noh, Sense8) , who Sunja’s family nurses back to health, vows to step in and act as a surrogate father. In adept fashion, Pachinko highlights class and generational differences. Solomon, of a younger generation and Western cultural influence, embodies individualist ideals. He wants to close a deal to progress his own career and is not concerned with the sentimental value of the property he is trying to acquire. Sunja, on the other hand, values family and community over personal gain, as articulated in her very first onscreen exchange with Solomon. Despite being each other’s flesh and blood, their priorities and mindsets diverge in a drastic manner. Though Solomon remains defensive about having different cultural influences, he opens his eyes to different perspectives as the series progresses. While displaying the macro-level influences of age, class and culture, Pachinko also shows how individual experiences manipulate the way its characters see the world. For instance, part of Sunja’s devotion to family stems from the pain she feels at Hansu’s rejection of her after she discloses her pregnancy to him. Just the same, an episode late in the first season reveals the origin of Hansu’s pain where he experiences the crushing and sudden loss of a close family member during his adolescence. Pachinko brings to mind another critically acclaimed period drama that highlighted classism and cultural differences, Downton Abbey . Family and loyalty are major themes of both series, and they astutely display the clash between those seeking social mobility and those always willing to sacrifice for others. Interestingly enough, the series is executive produced and directed by the creator of another project about family and loyalty, Justin Chon and his film, Blue Bayou . We will be looking forward to more projects to come from the talented Chon and hope to see more AAPI creatives welcomed into the producer space. 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 Night Agent’s diverse cast helps welcome all to the political thriller genre < Back The Night Agent’s diverse cast helps welcome all to the political thriller genre Exhibit A, 2023 49 minutes Creator: Shawn Ryan Reading Time: 7 minutes 📷 : Used with permission, Netflix The Night Agent Rising Tide (WDHRNXUZFGYGCOIV) 00:00 / 07:22 Matcha Mysteries or whodunnits White Movies and TV shows that make you laugh, or involve urgency, like chase scenes or other physical activity Reba Chaisson 2023-04-12 I like political-spy thrillers – novels that is, not cinema so much. They just don’t quite deliver the mystery and adrenaline rush of a well-written book. Windmills of the Gods by Sydney Sheldon still stays with me more than 30 years after reading it. Brad Thor’s Code of Conduct , Foreign Agent , and Backlash novels are others I could not put down. Dean Koontz’s The Silent Corner is yet another one that comes to mind. In terms of movies and television shows, Miss Sloane and the television series, 24 , definitely hit the mark. So given the short list of cinema, my expectations were low for the Netflix series, The Night Agent . The Night Agent is a ten-episode political thriller about an early 30-something FBI agent who works the Night Action phone in an isolated room of the White House. For his eight-hour shift, Peter Sutherland, played by Gabriel Basso ( Hillbilly Elegy , Super 8 ), sits alone in a secured room, waiting in the unlikely event that the phone on his desk will ring. The phone ringing signifies that the caller, a U.S. spy or night agent, has been compromised and needs emergency assistance. Normally an uneventful 3 rd shift, the phone rings. But instead of a night agent, it is Rose Larkin, a 30-something like Peter whose aunt and uncle were suddenly attacked and killed in their home. She has narrowly escaped, but not before the pair gave Rose a phone number urging her to call it immediately and get out of the house. Making eye-contact with one of the killers while running away, Rose is now a target. This inciting incident for the series sets off a chain of events that leads to Peter as Rose’s protector. The two must collaborate on who Rose’s aunt and uncle really were, why they were killed, and how their identities as spies were compromised. Diane Farr, the president’s chief of staff, assigns Peter to be Rose’s protector, and he proves himself to be up to the task. On several occasions throughout the series, he is forced to use his surveillance acumen as well as his self-defense and neutralizing skills, both with and without a weapon. Observing his proficiency in these areas goes a long way in establishing his much-needed credibility given his youth and the personal baggage he carries about the wrongdoings of his late father, a disgraced FBI agent. He repeatedly complains about the events that transpired around his father’s case, making him seem immature and thus difficult to take seriously. Showing his skills builds his credibility as a competent, but still whiney, agent. A tech genius, Rose, played by Luciane Buchanan ( The New Legends of Monkey , Sweet Tooth ), uses her skills to break into computers and navigate complex file systems. But while determined to find out who killed her aunt and uncle, she presents as naïve. Rather than strategizing, she looks to act on the information she finds by confronting the parties she believes to be involved, as if they will simply give her honest answers, let alone permit access to them. Peter’s experiences in the White House temper this by helping Rose realize that these are powerful people with strong influence and broad social networks. Direct confrontation accomplishes nothing. Dealing with these matters must be approached like a game of chess, not checkers. In this sense, the series reminds me of the political suspense thriller, Miss Sloane , where Jessica Chastain plays the title character as a cunning and powerful Washington, D.C. political operative who takes on the gun lobby. The film pulled me in and kept me guessing about what move would be made next. I became so immersed in this story, which contained strong characters and took its time unfolding. The ending was so great, it made me sing – and I can’t carry a tune in a bucket. The closest television production to The Night Agent is 24 , the series led by Kiefer Sutherland as CIA agent Jack Bauer, who took audiences on a thrill-ride for seven seasons across the first decade of the new millennium. The action-packed series was full of twists and turns, and far from predictable in story or character. Story and depth of character are usually the draw of cinematic pieces. With just a few exceptions, The Night Agent was largely lacking in both. Nearly everything about it was predictable. The relationship between Peter and Rose – predictable. The young female secret service agent who resents the older, more experienced male agent – predictable. The bratty daughter of the vice-president – predictable. The people involved in the conspiracy – predictable. The conspiracy itself – predictable. The gist here is that The Night Agent needs to go deep to measure up to its predecessors in the political thriller genre. One saving grace of the series is Diane Farr as the president’s powerful and quick-thinking chief of staff, who can deliver a profanity-laced line better than soldiers in the armed forces, albeit with a calm and controlled demeanor. Played by Hong Chau ( The Whale , The Menu ), Diane receives significant screen time in the series since she serves as the connection between Peter and the White House. It was quite entertaining to watch her calmly take down people above and below her in rank with her verbal wit, especially knowing she had the power to back up her words – and threats. The most important element of appeal, though, is the wide-ranging characters and the racial, ethnic, and gender diversity across roles. The roles are not patronizing but substantive: Black male and female secret service agents and an agency head who is Hispanic; a woman of color with IT security acumen; an Asian American female chief of staff to the president; a White woman as president, and a cast ranging from early 30s to mid-60s distributed across influential roles. This casting seems natural and reflective of today’s mosaic. It likely helps audience members connect with the series, allowing them to imagine what the political landscape and the seats of power across the Executive Branch could or even should look like today. In casting the series in such an inclusive way, the filmmakers signal to audiences that everyone belongs at the table, every group is entitled to political power. This is the major appeal of The Night Agent and it distinguishes it from any of its predecessors in the genre. The Night Agent holds some entertainment value and promises to keep you engaged to get answers to the unanswered questions, such as: Who ordered the hit on Rose’s aunt and uncle? What are they after? And what does any of this have to do with the White House? These are the questions that hover over the ten-episode series. But don’t underestimate the aesthetic power of seeing ourselves represented on screen in seats we don’t typically occupy. 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 Civil War centers war photography and its desensitizing effects A24, 2024 109 minutes Director/Writer: Alex Garland Reading Time: 6 minutes Civil War Quiet Desperation Part 2 (21TRXKFWFOPYJLBU) 00:00 / 05:57 📷 : Used with permission, Ryan Layah https://www.instagram.com/grievity/ https://twitter.com/grievity/ https://posterspy.com/profile/grievity/ Rosemary: Movies and TV shows with intense action Saffron Movies and TV shows with great visual effects Chris Chaisson 2024-04-11 There is a lot of talk in screenwriting circles about world-building. Audiences tend to go with the flow and suspend their disbelief if you can establish early what universe they will be escaping to: the protocols, the hierarchies, and the consequences. Generally, there will be a common thread between our society and the one we are introduced to, and moviegoers tend to recognize it while latching onto all of the fantasy. Alex Garland has gained a reputation over the last decade for his dystopian futures. Between Ex Machina , Annihilation , and Dredd , he has provided us our fair share of robots and aliens. But a dystopian future does not have to be science fiction; it could simply exaggerate the same conflicts that currently exist. Instead of machines and animals being more human, maybe human beings are a little less so. Garland presents such a universe in his newest A24 project, Civil War . Kirsten Dunst plays Lee, a war photographer hardened by decades of prominent and dangerous work. Much of society has broken down, and major metropolitan areas have become wastelands overrun with militia men fighting amongst each other. A specific rebel group is heading to Washington D.C. to overtake the White House and assassinate the president, played by Nick Offerman. Before what seems inevitable, Lee, her press partner Joel (Wagner Moura, Narcos ), and longtime friend Sammy (Stephen McKinley Henderson, Lincoln ), embark on a trip from New York to D.C., hoping to beat the rebel groups there to get a scoop with the Commander-in-Chief. Before heading out, they are joined by the ambitious twenty-something Jessie (Cailee Spaeny, Priscilla ), an aspiring photojournalist looking to follow in Lee’s footsteps. Jessie embraces the danger associated with the profession, or so she believes, despite Lee’s skepticism. Similar to a show like The Walking Dead , Civil War goes the route of explaining very little to its audience about how we got here and even what exactly is going on currently. For much of the film, we simply follow Lee and her group blindly on their trip, our uncertainty mirroring theirs. I’d imagine many expected a thorough rundown featuring flashbacks and exposition dumps in the first 30 minutes. Instead, the audience is dropped into several large gunfights with no real sense of what side anyone is on or what instigated any particular conflict. This style of storytelling could have a polarizing effect, as some people want all the information upfront. Others may decide that this is the most effective way to build the universe. Knowing what we know about our socio-political climate, a story about a very muddied up war on our own soil seems self-explanatory. The most dangerous people that the main characters encounter simply act on their own prejudice without speeches or explanations, which feels true to real life. Also, without context or preambles, the audience cannot take sides or empathize with any particular group in combat. The biggest takeaway from the film is how in this dystopian setting, our main characters have become very desensitized to the loss of life. Lee has had to compartmentalize witnessing violence while doing her job for many years, and she no longer seems to have the need to process it. Joel and Sammy are much the same way, while Jessie learns quickly the difficulty of this task. Both Lee and Jessie clearly love the art of photography, and at times throughout the movie, they speak about “getting the shot” when the shot in question is a dead or dying person. As the story progresses, Lee and Jessie’s sensibilities seem to switch, as one’s jitters disappear while the other’s return. However, this theme of desensitization continues all the way until the very last moments of the film. While the crew’s reaction to the violence around them may come off cold and detached, they are the closest we get to a humane presence on screen. Most of the other characters simply fight and kill one another, with no indication that anyone is merely defending themselves. Even characters outside of the field of battle seem to lack compassion. For instance, as Lee lugs her stuff toward an elevator at her hotel in New York, the front desk clerk informs her of the inconsistent power connection and the potential to be stuck mid-trip. Rather than pitch a realistic alternative for someone on the tenth floor or an emphatic warning, he states it matter-of-factly, still willing to let Lee risk her own safety. Similarly, while stopped in a town removed from any of the war violence, a cashier expresses complete disinterest in engaging with Joel or Lee. She merely answers their questions in aloof fashion before returning to her book. Such moments reveal a subtler reflection of the times they are in than the militaristic violence happening. Even aside from death and destruction, people are apathetic and disconnected from each other, making it easier to dehumanize them. War movies tend to fall into two buckets: a fictional representation of an actual war in world history or human beings fighting another species (i.e. zombies, robots, or aliens). For this reason, it is difficult to come up with a comparable dystopian future war film, other than the Mad Max franchise. However, the theme of journalism’s ability to desensitize individuals is reminiscent of the 2014 thriller Nightcrawler . Jake Gyllenhaal plays a driven but sociopathic individual striving to make a footprint in crime journalism at any costs. While Lee and Jessie are much more grounded, they share with Gyllenhaal’s character a seemingly disproportionate focus on perfectionism in work amidst a swath of inhumanity. 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!

Nimic serves as a sneak peek for the rest of its creator’s filmography < Back Nimic serves as a sneak peek for the rest of its creator’s filmography Superprime Films, 2019 12 minutes Director/Writer: Yorgos Lanthimos / Efthimus Filippou, Yorgos Lanthimos, and David Kolbusz Reading Time: 3 minutes 📷 : Licensed from Shutterstock Nimic Sliced Bread (X82MDOT4PFWFSZ2O) 00:00 / 03:26 Coca Movies and TV shows about drugs or with disorienting presentations Oolong Movies/shows that make you laugh or involve physical activity like exercise/dance Chris Chaisson 2023-08-02 Most film students are no stranger to the term “auteur,” often used to describe a well-known filmmaker with a signature style. Indeed, some writer/directors become well-known for the universes that they consistently represent. Maybe their characters speak in monotone voices and are void of facial expressions. Maybe their movies always have a clever plot twist at the end. Maybe every feature of theirs has at least 78 and a half explosions in it. Regardless, their personal taste is reflected in every project they undertake, including short films. While they are often meant to give investors a sense of story or universe, short films can also provide interested parties with a sense of the director’s personal style. Director Yorgos Lanthimos effectively pulls this off in his 2019 short Nimic . Nimic stars Matthew Dillon as the nameless protagonist, a routine-oriented family man and professional cellist. He has a wife and three children and plays for a classical string ensemble. One day while riding the train, he asks a stranger for the time in what turns into a regretful encounter. She recites his question, then follows him home in an effort to take his place as the husband and father figure. Though it at first seems ludicrous, his wife and children seem nonplussed by the presence of the stranger and willingly accept her as his replacement. As a feature, Nimic would likely include a second and third act of the protagonist attempting to regain control of his life. However, being the short film that it is, Yorgos Lanthimos’s project simply serves as a snippet reflecting his storytelling. Known as an existentialist, Lanthimos often depicts a bleak existence where characters feel very forgettable or replaceable, hence Matt Dillon’s character. The stranger he encounters demonstrates her ability to fill his role in the family and string ensemble so aptly that he may as well be invisible. In order to reflect this replicability, Lanthimos often presents humorless characters with no inflection in their voice (i.e. Dr. Steven Murphy in The Killing of a Sacred Deer ), as these features would make someone seem unique and endearing. Adding to the existentialist vibe is the fact that none of the characters in the film have a specified name. Dillon’s character, once followed home by the stranger, addresses his kids simply with a collective “children.” Most reflective of Lanthimos’s philosophy is the short film’s title itself, which is Romanian for “nothing.” The ominous tone of Nimic is reinforced with a soundtrack filled with strings being played violently, inducing anxiety in multiple scenes. The music is reminiscent of Alfred Hitchcock’s Psycho soundtrack and is consistent with Lanthimos’s longer projects. From both a technical standpoint and a philosophical perspective, Nimic , in just 12 minutes, precisely conveys to a viewer unfamiliar with Yorgos Lanthimos what to expect in his other works. Available on Vimeo 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 Accident cautions about the danger of losing perspective < Back The Accident cautions about the danger of losing perspective Mar Abierto Productions, 2024 45 minutes Creator: Leonardo Padrón Reading Time: 7 minutes 📷 : Used with permission, Netflix The Accident Emotive Shadow 00:00 / 08:34 Barley Movies and TV shows with a lot of dialog Masala Chai Movies and TV shows about toughness and athletic competition Reba Chaisson 2024-09-18 The Accident is a 10-part Netflix series about five families who are close friends, relatives, and/or business partners when a fatal event occurs during a child’s birthday party. Set in Santa Cruz, Mexico, the series stars Sebastian Martinez ( Pa' Quererte , Rosario Tijeras ) as Emiliano, an affluent lawyer who, along with his partners, is excited about the prospect of landing a 40-million-dollar deal from White developers, or “gringos,” in the U.S. to build an amusement park in Santa Cruz. On the day Emiliano expects a decision, he and his wife, police detective Daniela Robles, played by Ana Claudia Talancón ( A Circus Tale & a Love Song , El Galán. La TV cambió, él no ), are throwing a lavish outdoor birthday party for their 8-year-old son, Rodrigo. When Daniela tells Emiliano they are running out of ice, he rushes over to Moncho, his helpful gardener played by Silverio Palacios ( The Thin Yellow Line , Welcome al Norte ), and directs him to go to the store. Emiliano takes over the set-up from Moncho when his cell phone rings with the anticipated call, so he heads into the house to speak privately. While celebrating the good news with his partners, a strong gust of wind picks up and carries off the inflatable bounce house, resulting in the deaths of three children playing inside it. This tragic inciting incident leads to more than the families mourning their unimaginable loss. Over the next ten episodes, we see the fracturing of a once tight knit social network. At the center of the breakdown is the families’ insatiable appetites for vengeance and their obsessive need to hold someone accountable. What is interesting to observe throughout the series is how quickly relationships evaporate and the individuals’ space for reason is extinguished. For example, the U.S. investors express concerns about the investigation’s potential to disrupt the project’s timetable and consider canceling their contract with the firm. To avoid this, Emiliano and his partners offer money to Moncho and his family to take the fall despite knowing he is not the true culprit. Also exemplary of this fracturing and unreasonableness is Charro, a man who comports himself like a mobster by operating on intimidation. Before the accident, Charro, played by Alberto Guerra ( Ingobernable , El Señor de los Cielos ), observes a man at the party admiring his wife from a distance. Charro walks up to the man and says, “She’s so f***in hot, right? But if you mess with her, I’ll put a bullet between your eyes.” So, when Charro learns through the rumor mill that Moncho is responsible for the accident, even his wife challenges him to “take care of it.” On one level, The Accident is a story about class, as Moncho is blamed, beaten, and jailed for not staking down the inflatable. Thus, the initial response is levied at the person with the lowest rank in social class, the fewest resources, and the least perceived credibility. Contrast this with Charro, who is detained for severely beating Moncho and setting his house on fire with his kids inside, yet never sees the inside of a jail cell. His wealth, cocky confidence, and ever-present lawyer combine to ensure his detention never goes beyond the desk of the local sheriff. On another level, The Accident is about the potential corruptibility of greed. Emiliano and his law partners are so determined to maintain their contract with “the gringos” that they offer Moncho and his family money for him to take the fall. The matter of his innocence or guilt is not a concern. Their goal is to simply end the investigation into the matter at Emiliano’s home and cover up his true culpability in the bounce house incident. So, greed distorts the law partners’ ability to do what is just. The irony here is they are the ones actually sworn to be defenders of the law and advocating for those who cannot advocate for themselves. The Accident also helps us see how grief can cloud perspective. Angry and grief-stricken over the loss of their children, partners cheat on their spouses because they can’t fix the hole left in their hearts, and opportunistic individuals take advantage of their vulnerability. Even the estranged parent of the sole surviving child returns home not to console her child, but to seize upon the media attention her child is garnering from her story of survival. As the Santa Cruz police investigate, they reveal that bounce house incidents are not uncommon, and that children are injured and killed each year when sudden gusts of wind carry the inflatables away. Researchers documented 132 cases of wind-related bounce house incidents that occurred worldwide over a 20-year period. They found that people suffered 479 injuries and 28 deaths because the inflatables were not properly staked and reinforced with sandbags, and the weather not monitored for wind shifts, something researchers indicate is needed to ensure safety. These facts should have made The Accident a heart-wrenching story from beginning to end. We would expect, for example, this series to have a feel equivalent to that of Dandelion and/or Yarrow tea. Dandelion tea is a tag COTC assigns to shows with difficult or heavy subjects. I am challenged to imagine anything more difficult than losing a child, yet this series evokes very little of this emotion. It should be yanking at the heart strings and leaving tear tracks on the face, but it does not. Yarrow tea is for shows with illness or that are set in hospitals. In The Accident , the children are at once playing and then gone. Their loss is sudden, not gradual. Their lives don’t linger over a period of time. In the absence of these elements, the show is left only with depictions of blame, anger, and fighting, making it more akin to a Masala Chai tag which signals toughness and competition. So, the show lacks the emotion fitting of the magnitude of this travesty, which is needed to connect with the audience. Despite this, though, The Accident contains salient themes and ethnic representations that challenge the prevailing depictions of Mexican people in films made in the U.S. Indeed, what I like about this series is that it depicts Mexican families as educated professionals with large, sprawling homes and upscale lifestyles. This portrayal contrasts sharply with the films produced in the U.S. frequently depicting Mexican families as poor, working class, and living in high density, violent communities in apartments too small to accommodate their large families. The Accident teaches us about the price we can pay for rushing to judgment, something we are much more prone to do when experiencing the excruciating pain of loss, unbearable weight of guilt, and desperation. Reason gets clouded and distorted, and much like a rabid dog or any wounded animal, we do a disservice to ourselves and those we care most about. It is only when we come close to losing someone else that we return to our senses and realize what we have done and who we are in danger of becoming. Despite the missed opportunity to imbue the series with a compelling emotive element, The Accident ’s thematic material and unique representations offer some appeal to those craving a Masala Chai-type story. 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 Tár frames a pressing topic of conversation around an unorthodox character Focus Features, 2022 158 minutes Director/Writer: Todd Field Reading Time: 5 minutes Tar Path of Purpose (VYUSTXBC8OSI6KES) 00:00 / 05:54 📷 : Used with permission, Edgar Ascensão https://edgarascensao.bigcartel.com Barley: Movies and TV shows with a lot of dialog Honeybush: Nonfamily dramas with strong adult and/or socioeconomic themes Chris Chaisson 2023-01-09 Tár takes us on a two-and-a-half-hour trek through the life and routines of Lydia Tár (Cate Blanchett, Blue Jasmine ), an uber-accomplished classical music conductor leading the Berlin Orchestra. Ahead of her crown jewel, a live recording of Mahler V , her transgressions regarding inappropriate relationships come under a microscope. Once feeling invincible, Lydia now feels the walls closing in on her, leading her to engage in desperate and unhinged behavior. The subjects Tár broaches constitute the most pervasive questions surrounding pop culture figures today. A common debate on social media and amongst news outlets is whether or not fans can separate art from the artist in light of misbehavior. Furthermore, should any support for said artist be erased? Tár breaks the mold by choosing a female conductor in the male-dominated industry of classical music as its figurehead. This representation differs from the pop artists, A-list actors and politicians that we are used to seeing at the forefront of this discourse. Lydia has defied the odds in reaching the heights she has reached, which, in theory, makes her easy to root for. In reality, she abuses her power and harms others in the process. Indeed, the film puts the audience in conflict early by showcasing her character flaw in the first act. A noteworthy scene occurs when Lydia teaches a conducting class at Julliard, a performing arts conservatory in New York City. A student identifying as BIPOC pangender (Black, Indigenous, and Person of Color) voices his disapproval of J.S. Bach’s work on the basis of his sordid personal life. Lydia rolls her eyes at the notion, then entertains the student’s moral code and teases it out over a series of monologues. She brings up examples of Bach’s contemporaries having equal or even more egregious misdeeds. While many college professors employ this tactic to facilitate healthy debate, Lydia’s aim is to delegitimize the student’s stance and bully him. He feels humiliated to such a degree that he gathers his things and storms out, which Lydia finds amusing rather than disappointing. The scene reveals her cruelty, as well as her point of view that accomplished artists should not be subject to moral scrutiny. Ultimately, in addition to presenting a hot-button issue, the debate occurring so early in the film serves as foreshadowing for the rest of the movie. The opinions Lydia expresses in the scene go hand-in-hand with the behavior she exhibits moving forward. She feels above reproach, and when her livelihood begins to slip away from her, she refuses to accept accountability. Rather, she lashes out and abuses her power in other ways. In the end, her attitude leaves her with no support system and no one coming to her defense. Lydia does not reserve her dismissive attitude for strangers or students. Francesca (Noémie Merlant, Portrait of a Lady on Fire ), Lydia’s assistant, feels the sting of being overlooked as well. Despite being in an apprenticeship role, Lydia passes her over for someone else when the opportunity for a new role presents itself. Rather than nurture her relationships with Francesca and her girlfriend Sharon (Nina Hoss, Phoenix ), she views every encounter as transactional or a favor on her behalf to others. Critics and podcasters refer to Tár as a character study. I would propose that it is just as much an audience study. While some of Lydia’s behavior is unconscionable, the background characters in the film participate in the same invasion of privacy and misrepresentation that we witness in our everyday lives. The film opens with a phone aimed at a sleeping Lydia while the holder, out of frame, texts someone to poke fun at her. Though the owner of the phone clearly knows Lydia, she is nonetheless broadcasting her in her sleep. This violation of someone’s privacy has become so normalized that most viewers probably will not think twice about it. Later in the film, her confrontation with the Julliard student is edited out of context and published online to make her look as bad as possible. It serves as another moment of her existence being filmed without her knowledge, leading you to wonder how regularly this is happening not only to her, but real-life celebrities, and maybe even ourselves. As we see with modern celebrities, the video serves as a piling-on moment during which no one questions the morality of obtaining such footage. Instead people partake in the criticism. Despite the film’s fixation on Lydia, putting her in every scene, Tár provides the audience with plenty of perspectives from which to view the story. Between the background characters, the significant others in her social circle, and the governing bodies that seek to hold her to account, anyone watching the film can pay attention to and empathize with different viewpoints. Tár is similar to TheWolf of Wall Street , even though the two movies have entirely different styles of storytelling. Like Lydia, Jordan Belfort (the lead character played by Leonardo DiCaprio) is highly skilled, ambitious and successful. Nonetheless, he feels insulated from consequences and emotionally distant, until the people he has mistreated partake in his downfall. While one is far more vulgar and bombastic than the other, The Wolf of Wall Street and Tár tackle the same questions about mythologizing public figures. 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 Red Suitcase offers a glimpse into a different reality < Back The Red Suitcase offers a glimpse into a different reality Cynefilms, 2022 18 minutes Director/Writer: Cyrus Neshvad / Guillaume Levil and Cyrus Neshvad Reading Time: 3 minutes 📷 : Licensed from Pixabay The Red Suitcase Just A Dream (TRRI0X7EOJWAGDDF) 00:00 / 03:26 Ginseng Suspenseful and intense thrillers Chris Chaisson 2023-03-11 Short films have their obvious limitations, and in order to stay within time and budget limitations, they often narrow their focus to one character, one location, or maybe even one object. Even with this narrowed scope, every filmmaker, regardless of project length, wants to properly convey the universe of their story’s setting.. It could be a fantasy realm, a period piece, or a multiverse. Or it could be more grounded, set in the present-day and located where most of its audience resides. However, some shorts give you one character, one location, one object, and a culture you may not have been exposed to, but nonetheless exists for a large population. Such is the case in the cat-and-mouse Oscar nominated short The Red Suitcase . The Red Suitcase drops us into the middle of 16-year-old Ariane’s life-changing dilemma. As she arrives at the Luxembourg Airport from Iran, she dreads the new life that awaits her: a marriage arranged by her family. Her spouse-to-be waits with anticipation at the arrival gate, but she does her best to evade him. He is unfamiliar with her appearance and has only one thing to identify her by: her red suitcase. Ariane does her best to make it through and out of the airport in covert fashion, rebelling against the future assigned to her by her father. Despite her best efforts, she encounters obstacle after obstacle to her imminent safety. Short films do not have much time to provide exposition or build tension, and The Red Suitcase expertly bypasses any unnecessary setup. The audience immediately feels the unease of Ariane before even grasping her situation. Her suitcase is filled with her own artwork, which not only reveals part of her personality but what will bring her joy should she choose to leave the airport with her fiancée. In the mere 18 minutes of the film, Ariane appears to be home free and then desperately hiding several times, giving the audience a roller coaster of emotions. Though she repeatedly uses wit and awareness, misfortune seems to lurk around every corner for her. The suspense remains right up until the final moment where Ariane is forced to accept a compromise. Beyond tension, what the short film provides is a glimpse into another culture and the reluctance of adolescents who are forced to participate in it. Leaving home at such a young age is daunting when done of free will, much less to enter into an arranged marriage. It is not explicitly stated whether Ariane is having second thoughts or ever wanted this life in the first place, but her attempts to evade her future spouse fill the audience with dread from beginning to end. Any viewer of The Red Suitcase can decide for themselves whether or not to cast judgment on the traditions of another culture, but where the short succeeds with flying colors is making the viewer empathize with a young, lonely, fearful protagonist seeking freedom of choice. 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!