How do you begin to tackle the subject which has overthrown any semblance of normalcy in your life? How do you begin to write into that monster which has grown tall enough to lock you in its shadow indefinitely?
The Good Lord Bird turns Bible-thumping bombast and difficult, complex American history into an engaging tale of love, heroism, righteousness, honesty, and genuine belief in the American experiment.
The directors of Mank and Ma Rainey's Black Bottom practically jump into the frame as they attempt to author something of a revision to the source material. But these directors differ significantly, particularly with regard to what they find unsettling and how best to capture it.
PEN15 always captured my own distinct subspecies of early-‘00s teenage awkwardness with horrifying and delightful accuracy, but I don’t know if it got sadder in 2020 or if I did.
All of our stories are coming of age stories, no matter how old we are, and the beauty of a great coming of age story is that by the last act our hero has done that which we all desire: become their whole selves.
It’s not important to distinguish what is truth and what is fiction in Crestone; the collapsing of these boundaries is what gives Marnie Ellen Hertzler's documentary the same sense of apocalypse we've felt this past year, perceptively real in its feeling of unreality.
Along with being a damn entertaining ride, an understanding of the vital intimacy between women makes Emerald Fennell’s Promising Young Woman feel gorgeously, confrontationally female.