Here’s a challenge — who can watch every one of these hidden gems by the end of the year? Each brings a powerful, varied voice to the stage through @ava’s production company Array, which amplifies films made by women filmmakers and people of color.
Tag us with your progress!
THE BODY REMEMBERS WHEN THE WORLD BROKE OPEN — After a traumatic event, two Indigenous women in Vancouver are brought together and form a deep bond despite leading different lives.
FUNNY BOY — A student must navigate issues of sexuality, identity, and family amid Sri Lanka’s social turmoil of the 1980s and 1980s.
AINU MOSIR — A sensitive Ainu teen searches for a spiritual connection with his recently deceased dad while navigating his indigenous identity in a changing world.
JEZEBEL — During the internet’s infancy, a vulnerable woman follows her sister into the sex industry as a webcam model but her sudden popularity tests their bond.
BURNING CANE — A lonely mother, an unemployed son, and a grieving pastor question their faith, each in their own way.
LINGUA FRANCA — An undocumented trans woman seeking legal status in the US becomes romantically involved with the grandson of the elderly woman she cares for.
RESIDUE — A young screenwriter returns to his hometown to write a script based on his childhood and discovers his neighborhood has been gentrified.
JUSTINE — A widowed, single mom takes a job caring for a young girl with spina bifida, and the two discover they have more in common than they realized.
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RISING PHOENIX explores the legacy, intensity, and importance of the Paralympic Games. Here are five facts from the doc that are worth knowing and sharing
(thread 🦾)
The name “Paralympic” describes the movement taking place “in parallel” with the Olympic Games.
On the first Saturday in 2016, more people attended the Paralympic Games than attended the single busiest day of the Olympic Games.
After extensive hours of research and a thorough investigation, one thing has become clear: Al Pacino has never worn shorts in a movie. Hear me out. (thread)
"Oh, but Pacino has acted in over 50 feature films," you say. "He *must* have worn shorts in one of the many hot/topical locations he's been in!"
My friend, you are dead wrong.
OK, in THE IRISHMAN we all know he doesn’t wear shorts in Florida despite the daily highs of 92°F in the summer, because he “has a meeting”. Fine, fair enough. I respect it!
For years, fans of THE MATRIX have discussed the film through a trans lens. If you’ve heard the theory before or just learned about it, here’s a thread breaking down the trans allegory of the film, from trans writers and critics.
Welcome to the desert of the real. (thread)
Lilly Wachowski recently looked back on the film and confirmed the long-discussed theory of THE MATRIX as an allegory for gender transition. “THE MATRIX was all about the desire for transformation, but it was all coming from a closeted point of view."
So how is THE MATRIX super trans? Writer @andrealongchu sums it up in an excerpt from her book “Females,” for Vulture: “Neo has dysphoria. The Matrix is the gender binary. The agents are transphobia.”
Hey there! Entertainment journalist @TrevellAnderson here to discuss @Disclosure_Doc — a chronicling of trans representation on screen. Perhaps you’ve heard that this documentary is “necessary" and a “must-see.” But you may not know WHY... Well, let me put you up on game! Thread:
Inspired by THE CELLULOID CLOSET (1995), director @SamFederFilm wanted a film that charted the history of trans imagery on screen. Because while it's great to revel in the existence of shows & films like POSE, TRANSPARENT & TANGERINE, there is a lineage to which they belong.
And that lineage isn’t cute—it’s chock full of sensationalism & dehumanization, racism & anti-Blackness, homo/trans/femmephobia, sexism & misogyny. The result is a world that treats trans people the very way media has represented us, as comedic relief and disposable playthings.
Hey, I'm Robert Daniels @812filmreviews, and I’ll be explaining how Spike Lee's DA 5 BLOODS continues the director's career interest in icy father-son relationships as seen between Paul (Delroy Lindo) and David (Jonathan Majors). Thread!
In DA 5 BLOODS, four war buddies Otis (Clarke Peters); Eddie (Norm Lewis); Melvin (Isiah Whitlock Jr.); and Paul return to present-day Vietnam to recover the body of their fallen brother Stormin’ Norman (Chadwick Boseman) and a cache of buried gold bars.
On their journey, Da Bloods are joined by Paul’s son David (Jonathan Majors). The pair share a contentious relationship that mirrors others in Lee’s oeuvre: MO’ BETTER BLUES, GET ON THE BUS, HE GOT GAME, and BAMBOOZLED.
Hi, I’m Phuong Le @smallnartless, a Vietnamese film critic, and I’m here to discuss the depiction of Vietnam in Spike Lee’s DA 5 BLOODS. The story follows the return of 4 Black veterans to Vietnam as they search for a buried treasure and the remains of their squad leader. Thread!
I was relieved that the 1st song popping up in the film is Marvin Gaye’s Inner City Blues. The fact that Spike Lee deliberately ditches *that* Buffalo Springfield song & a host of other staple Vietnam War film tunes signifies that DA 5 BLOODS and its POV would be different.
The juxtaposition of various historical footage capturing the protests in the US with Vietnam War atrocities is important. It not only contextualizes the film but also demystifies Vietnam, which has often been cinematically metaphorized as a battlefield between good and evil.