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The legendary literary lesbian romance, starring the incendiary duo of Gemma Arterton and Elizabeth Debicki, is criminally blah, lacking all sexual and intellectual passion. How does this happen?
Spoiler: The dominance of the white male critic is not a good thing.
It’s hard to escape the sense that Ari Aster is getting off on Florence Pugh sobbing and screaming as he fetishizes her terror and torment. And none of it is in the pursuit of any meaning or message.
These stories are usually for Patreon patrons only, but this one’s free!
I am getting wonderfully lost in exploring this curated selection of documentaries, indies, and international films, many of which are unavailable to stream elsewhere.
Lila Avilés directs and cowrites drama The Chambermaid (La Camarista), starring Gabriela Cartol; more… [This post is for Patreon patrons only for the first month.]
The riveting tale of misogyny-busting sailor Tracy Edwards is as beautifully modulated as fiction, full of twists and turns and delicious ironies, and even sports a perfect ending. Yet it’s all true.
Shayna McHayle costars in dramedy Support the Girls; more… [This post is for Patreon patrons only for the first month.]
This astonishing assemblage of vintage footage, some never before seen, may be unspoilable (we know how it ends) but it’s still hugely suspenseful, and beautifully immersive visually and emotionally.
Regina Hall is glorious in this sharp yet generous portrait of women’s relationships, one smart and witty about how women navigate everyday sexism. Genuinely surprising that it’s by a male filmmaker.
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