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Two new documentaries tell inspiring stories about ordinary women radicalized into revolutionary action, from anti-nuke protests in the 1980s to anti-corporate and anti-corruption activism today.
Contemplative and tenderly observed, a slow-burn romantic and family drama about two complicated, difficult people and what they’re willing to risk to achieve their dream. Plus: Scandi food porn!
Ostensibly a movie in the same way that a Victorian folly is ostensibly a Japanese temple or a medieval castle. That is: not at all. Like a themed high-school prom from 1994, and an accidental horror.
Everything about this astonishing, just-plain-satisfying film feels like a revelation. Bone-deep subversive yet universal, dripping with a quiet dread yet also beautiful and beautifully wise.
An ultra-low-budget marvel, a perspective on societal disruption and disorder as everyday precariousness comes for those previously sheltered from it. Barely speculative, maybe terrifyingly prescient.
Apocalyptically sorta-satirical, bone-deep terrifying slap in the face that humanity has properly earned. Formidable, intense… and funny, in a very dry way that is nevertheless difficult to laugh at.
Ambiguous, introspective, thoughtful. As weirdly uncomfortable as horror should be, and rarely is, as it examines how these movies can infect us. Niamh Algar is terrific, and deeply empathetic.
Tragic anti-romance uses cinematic conventions and the presumptions of fiction to disorient us. Bursts the bubble of a certain kind of movie delusion to highlight a harsh reality of women’s lives.
Fairy tale goes jukebox musical with a feminist, gender-fluid spin. Throws irony and sarcasm at heterosexuality, patriarchy, even monarchy. Pretty darn fun, with a sweetly spunky Ella in Cabello.
Spanks the 2016 film and sends it off to the corner to think about what it did. This one is the definite article: Gory, grim, bleakly funny. Full of feverish, anarchic energy and exhausting cynicism.
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