But at its core lies a story of redemption, cultural pride, feminism, and economics — elements of a young life contending with extraordinary challenges. … ‘Queen of Katwe’ is a mesmerizing story of a life fully realized, a life that’s often overlooked and not given a chance. Its young cast, led by Nalwanga’s nuanced performance, help illuminate layers of humanity resting deep in the “slums” of Uganda, exhibiting talent well beyond their years.
Sam is an underrated, if not widely unknown 1980s heroine. She serves as a symbol for America’s 1980s attempt to reconcile with its most controversial war. The 1980s experienced a boom in Vietnam War films, as the temporal distance from the war allowed filmmakers to fully deconstruct the experience. Rarely is the locus of these films a woman.
Systematized omission of women, gender non-comforming persons, queers, and people of color from history is still rampant in the arts, literature, and other fields of cultural production. I make ‘The Ladies Almanack’ in response to this erasure and in service of the hunger I feel for these buried voices.
The potency of ‘Carol’ struck me. I found myself hopelessly enraptured by the film’s meticulously flawless and at times excruciatingly realistic depiction of the ineffability that typifies so much of the queer experience. … The film pinpoints and satiates that pulsating, unspeakable longing that I (and I know countless others) have felt too many times.
What works beyond a shadow of a doubt is Moore herself. For a long time now, she has demonstrated an uncanny range and power without ever subjecting us to a shred of vanity. Here, she outdoes herself, channeling Alice’s physical, mental, and emotional devolution with an alchemy that is as thrilling as it is harrowing. Her luminous features slacken, her cadences falter, her life force fades. Scenes with Stewart are especially heartbreaking.
I wish I could say that ‘Gone Girl’ is a subversive feminist film exposing myriad gender biases and generating a much-needed dialogue on rape and domestic violence. Yet it reinforces dangerous myths rather than shattering them.
‘Gone Girl’ has been called misogynist, an amalgamation of negative stereotypes of women, a text that perpetuates rape culture, and a narrative that fuels Men’s Rights Acivtists’ ugly depiction of the gender equality feminists are trying to achieve.
Putting the talent of the author aside – because I do think Gillian Flynn is an incredible writer – I want to address this feminist ire directed at ‘Gone Girl.’
To an extent, I agree with it. Yet, what is missing from the discussion is a focus on privilege.
While watching ‘The Maze Runner,’ I couldn’t help thinking, wouldn’t this story have been so much more rich and interesting if it had been told from Minho’s or Teresa’s perspective? Why not feature a girl or a boy of color as the protagonist?
My Sister’s Keeper is a story about growing up, identify, family, death, and life (how can we truly tell any story about life when death isn’t the costar?), but its uniqueness is that it is told primarily through two young girls.