Pure joy. It is singing and dancing, life and love, food and family, heritage and community in all its complexity. Harnesses Golden Age Hollywood verve and style in breathtaking, enrapturing ways.
The brilliantly unsettling “Two Distant Strangers” is not only the most important of the nominees but one of the movies of the year, of any length. Its surprises are more brutal than mere plot twists.
A wonder of emotional claustrophobia and narrative economy. Rachel Sennott is delightfully caustic in this painfully poignant, dryly funny portrait of a deeply awful moment of young adulthood.
Achieves that rare cinematic feat of being specific and universal at the same time. A lovely film, plaintive and poignant, with exquisite performances from a beguiling cast, and ultimately hopeful.
I got an email yesterday from a reader, in response to my #LockdownDailyWalk posts, who was all, “Hey, I thought you couldn’t afford to live in the cool parts of London, what’s up?”
A winsome Tilda Cobham-Hervey leads a rote rags-to-riches tale, though its rampant sexism is a villain women will recognize. Needs to be seen, even if it’s not quite the tribute Helen Reddy deserves.
A ramble with appealingly messy people rethinking their priorities that is perhaps more charming and touching than it might have been if this pandemic summer didn’t have so many of us doing the same.
Two intimate documentaries about atypical paths to parenthood — or not — invite us to re-evaluate our assumptions, expand our thinking, and be more accommodating of the full spectrum of humanity.
Wild sass, gentle comedy, shivs of poignancy, and instantly vivid characters add up to a wonderful riff on mob movies as a Chinatown granny faces off against gangsters. Tsai Chin is an absolute hoot.
A quietly brutal film that shows the dark underbelly of an industry — of a world — dominated by often predatory straight white men. Could be an eye-opener on a larger scale… if only we listen.