What happens when two people—whose identities as “stars” are defined by others rather than themselves—collide?
This is the poverty of places that are entirely forgotten, overlooked, or left behind.
Kieślowski’s film is about emotional liberty—the special kind that can only occur after empathy is forged through tragedy and trauma.
If anything, White God proves racism and classism exists everywhere in the world, but our perspectives on it are far from uniform.
If Love, Actually actually isn’t about love or Christmas, what makes it such an endearing holiday classic?
The cinematic equivalent of a 5-hour energy drink
Spice World is interesting, if only for the almost prophetic messages it held for the state of modern feminism and millennialism (no, seriously).
Sideways is the kind of character-focused dramedy that shows you what and who is at the heart of pretension or, conversely, what and who is at the heart of someone who wants to be pretentious, but has no idea what they’re talking about.
What we may suppress when we eye-roll at an unruly 12-year-old, Cuesta remembers with a tangible empathy.
For any white person to watch this movie through a lens of colorblindness is to miss much of the deeper meaning of the film.