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sunsetstarrogue · 2 months

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i came across "like rain, I fall" and it love(d) it so much. I adore what Denis did to Chani's character and I love how Zendaya brought her to life. I also kind of wonder what was even the purpose of the first Leto II since he dies, and its just like 'sad...okay...'

Chani is so much more interesting to explore, especially your Chani as you write her because she's grappling with mourning someone that is still alive and trying to protect her son from just everything, enemies, his birthright, even his grandmother. I love how Chani really does not fu*k with Jessica, it makes sense they are so different that part of Chani thinking about Jessica trying to control Paul in the womb just blew me away, it's so poignant. I think the really crazy part is that Chani leaving and hiding from Paul inadvertenly saved her child, as Irulan in the books was feeding Chani contraceptives so her rejecting that 'game of thrones' esque role as concubine is what leads her to give birth to Abiel (love the name by the way). Chani is very straightforward and honest, the name makes sense and I'd think in their talks and just moments of intimacy, she'd kind of know Paul would want to name his son after his beloved father but she cant for obvious reasons. I think the name is also Chani grappling with just how much she loves Paul and how much she misses him (even when she says she doesn't) and just her lonliness. She can't really bask in anything regarding her pregnancy, hence why she's just winging it depsite her culture's norms. because it means confronting the fact that she lost the love of her life. Which also makes me wonder where exactly you're taking this, is it going to go towards a reconcilliation? A permanent break or like a grey one, no absolution just a gritty bliss.

In the book Paul's visions kinda stop when Chani is pregnant, her birth is early and catches him off guard, so like he knew Chani was going to die but he couldn't see the twins coming so it's like he can and can't see much and considering how he's trying to give Chani her space I'm wondering if he even knows she's pregnant. Also like him tracking her down to see her with a baby and her just kindof running and peacing out on the back of a sandworm with Abiel tied to her is kind of funny to picture, i'd think she do it in a petty way to piss off not just Paul but all the atriedes, like I got the vibe she realllllly didnt fu*k gurney because he really represented that colonizer perspective, viewing the Fremen as tools rather then beings, something a lot of the other powerplays probably thing as well. That being said there's only so many places you can run away in Dune and when your Most Wanted #1 and you have nuts like Stilgar after you...

I'm so interested in the niche trope of tragic romance, where you partner becomes a villian and (oddly) you die (Padme and Anakin, Snow and Lucy Gray and now Chani and Paul). I think it's so underutilized and just the heartbreak, angst and complexity would be so fun to write. Also Chani is still alive and has so much difficulty ahead of her, I can't wait to see where you take this but also like whenever you want to update no pressure. thank you for adding to thia dry tag, it's rough out here :')

thank you for taking the time to write for this fandom, it's so appreciated xxxx

So glad you found my fic. I'm so happy that your enjoying it so far. Chani has quickly become one of my favorites characters in Dune. I didn't really pay much attention to her in the books but Zendaya and Denis Villeneuve did such a wonderful job with her character that I couldn't help but fall in love with her.

Lady Jessica is actually my favorite character in Dune (books and movie) and so I really wanted to portray her in a way that is satisfactory to me while also having her character add to Chani (since this is HER story)

I am still undecided on how exactly I want to end the fic but I definitely don't think I'll make them reconcile (or go back to how they were before Paul did what he did)

And as for updates, I am very busy at the moment so it will take me some time to finish the next chapter. Spoiler alert: we'll be seeing Jessica and our favorite weird child 😌

Thank you so much for sending this ask. It really does make my day.

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slow-burn-sally · 3 years

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I watched Say Anything last night for the first time in many years, and I was so so impressed with it. I’ve always loved that movie, but I thought maybe it might not have aged well. It came out in 1989, and 80s movies have a tendency toward cheese.

I was pleasantly surprised to find that it still kicks all sorts of rom-com ass.

I feel like this was largely due to Cameron Crowe doing an amazing job at portraying a far more realistic teenage experience than most rom-coms do. And of course the cast was phenomenal.

His protagonist, Lloyd Dobler (John Cusack) isn’t a handsome jock, nor is he a nerd. But he is into sports (kickboxing! The sport of the future!). He’s also into music, and has an awesome mix of not having any real dating game, but being the sort of likable guy everyone knows, and has an awkward sort of charm.

He lives with his sister (Joan Cusack, his actual sister), and her small son, and they have a very realistic relationship. Part genuinely fond, partly extremely irritated with each other.

His best friends are all girls, and unlike in films like My Best Friend’s Wedding, or Some Kind of Wonderful, they don’t actually fall in love with him or step into the role of love interest. They’re just his buds. And they have relatively well fleshed out characters. Especially Lily Taylor who does a fantastic job as that one friend who’s obsessed with the guy who’s no good for her.

Diane Court (Ione Skye), the actual love interest is very academic, but also just stunningly pretty. She’s not your typical, vapid cool girl that Lloyd has to try and impress by being some sort of “bad ass”. She’s relatively introverted and focused on her studies, but she’s also gorgeous, so there’s none of that “smart girls have to wear glasses and have bad hair” trope, which, while it’s fun, could honestly use a break. Smart girls look like all kinds of people. And speaking of smart girls, she’s far more intelligent book-wise than Lloyd, and instead of resenting this, or being overly intimidated, he is unstoppably impressed and proud and supportive of her smarts.

Diane’s relationship with her father (John Mahoney) who raised her, is complex and has a lot of emotional depth. Rather than just going for the “mom died of cancer/in a car accident etc.” trope, they simply had her choose in court to live with her father. “It just felt safer,” her character says. This is pretty rare in cinema. The acknowledgment that sometimes, when a couple separates, it’s the dad who’s the best suited as a full time caregiver, and that impressed me.

Diane’s relationship with her father takes an almost equal center stage spot next to her relationship with Lloyd, and the titular line is spoken not to Lloyd, as one would expect, but to her dad. “You can say anything to me!” she exclaims to him during a tense moment. They clearly share a deep bond, and it takes some heart-wrenching twists as the movie progresses and we learn that her father has been involved in some shady financial dealings.

Diane herself, while stunningly beautiful, sweet and kind to boot, has her own issues and her own complex characterization. She’s torn between her conflicting duties to her father, her boyfriend and her advancing academic career and she struggles convincingly with all three as the movie progresses.

I even hesitate to call this film a rom-com. Maybe because where there some genuine laughs, there’s also a lot of drama and deep emotion portrayed, and not just for the usual reasons. There’s themes about family, duty and obligation, the fear of life after high school, and dating pressures that are just so poignantly rendered as the main characters fumble their way through the plot.

I just adored it and would recommend it to any newcomer, or people too young to have been introduced to it by friends or older siblings. It’s more than just a Peter Gabriel song and a boy, dramatically holding a boom box over his head to serenade a girl. It’s really so much more than that.

#say anything #cameron crowe #john cusack #joan cusack #john mahoney #meta

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second-tolast-blog · 7 years

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My Favorite Movies of 2016 in Nine Digestible Categories

Every year it is the same story. As the year happens, people bemoan the state of movies. Then by the end of the year, and people compile their end of the year lists, we realize that movies are not a dying medium, slowly being replaced by television. Studios just succumb to the antiquated model of old release patterns. Movies vying for Oscars has to come out late in the year for momentum and blockbusters must be released in the dead heat of the summer. Both “20th Century Women” and “Why Him?” were close to sell outs last weekend as I attended my local multiplex. “Lion,” although only playing in two theaters in New York, sold out a 560-seat theater and its highest billed actor was Dev Patel.

Sure, those films were helped by the holiday bump and limited releases, causing the demand to look greater due to the lack of supply, but people are still going to the movies. And if not, the means of production has allowed for filmmakers to make $20 million indies with sources of output like Amazon Prime and Netflix along with the traditional studios to distribute to a wider net of audiences. With emerging voices like Barry Jenkins and Damien Chazelle and returning veterans and legends like Jarmusch and Scorsese releasing films this year, it is hard to begin eulogizing cinema.

So, it is my job to highlight 20 of my favorite films of the year. And to not succumb to the usual listicle, this list will be broken down to ten categories because all these films deserve to be watched.

Best Movies of the Year where Mahershala Ali Plays an Untraditional Father Figure for about 10 minutes of the movie

Moonlight, Kicks

Thank god for “Moonlight,” a film that has been written about so much that I do not know what I can bring to the conversation at this point. Without it, people may be left to try to salvage Nate Parker’s ill-begotten “Birth of a Nation,” as the obligatory black film of the year that it was positioned as at Sundance back in January of last year. But, “Moonlight” should not be considered a token of a film. Its rise to the top through think pieces and word-of-mouth speaks to how it was able to naturally build its base of spectators. “Birth of a Nation,” on the other hand, struggled to connect partially due to its controversy but also to its haphazard “Braveheart” style hero narrative and questionable use of victimhood especially that of rape. “Moonlight” is cinema at its best. It is a passport to a world, a mindset, an experience that is not readily available. It is empathy.

While “Moonlight” has dominated the conversation, Justin Tipping’s “Kicks” has been barely touched upon. It has been spoken so little of that since I saw it I have questioned my love of this small film. Tipping riffs on “Bicycle Thieves,” in which an African American teen, Brandon, gets his brand-new sneakers stolen in a city right on the outskirts of Oakland. This allows for Tipping to breeze through the neighborhood as Brandon and his two buddies searches for the men who stole his shoes. It’s a small film that screams that this is a first feature, but the style is so assured. Tipping is not afraid to take risks, allowing for flourishes of style and metaphors (there is a motif of an astronaut that aggressively highlights Brandon’s alienation for the things around him) that many more conservative filmmakers would not bother to entertain. Like “Bicycle Thieves” the plot is simply an excuse to explore a post-world II Italy, the plot here is an excuse for Tipping to explore the neighborhoods that has been forgotten about in film since the early 90’s. These characters are so richly drawn beyond what could easily be caricatures. If “Boyz in the Hood” gave a glimpse to life in “the hood,” “Kicks” is a portraiture. Also, best Mahershala Ali performance this year.

Best Movies of the Year where the Central Theme is that Grief is a Motherfucker

Manchester by the Sea, Jackie

There are horror movies which relies on jump scares. Like a roller coaster these momentary jumps are fun but ultimately has no lingering effects except for a scratchy throat. That is exactly the same way I feel about tearjerkers. Movies like “Lion” or “Beaches” live on sentimentality and tears. Like a superficial thrill ride, these films have a purpose and place. But, then there is a film like “Manchester by the Sea.” The film is filled with little moments that prove that Kenneth Lonergan is one of the great humane dramatist working today. Sadness and grief seeps into you like water slowly draining into the ground. But, what is so illuminating about the film is how the film portrays people dealing with grief; with anger, ambivalence. These characters are simply living. I have a friend, unfamiliar with Lonergan’s works and what struck as well was how funny the film was. That’s because even when our closest love ones are gone that does not mean that life stops going.

What happens, though, if someone’s life is defined by a person who dies? Pablo Larrain is one of the most exciting filmmakers working today. In “Jackie,” he takes what could have been a maudlin drama and with an incredible score by Mica Levi, creates a horror film. The monster for Jackie Kennedy is the weight of legacy, purpose and the American ideal. Is this what the real Jackie Kennedy went through in the immediate aftermath of JFK’s assassination? Probably not. But, what historical fiction does is to draw a parallel with these pristine historical figures with everyday living. What struck me most with “Jackie” was the amount of decisions that had to be made immediately after the tragedy. The same with “Manchester.” Jackie Kennedy mourns while also keeping up appearances in a role that has been bestowed upon her. She is the first lady of America, after all. She can’t be seen too sad, angry, or drunk. The real-life piece that is written about her weeks after JFK’s funeral which is fictionalized here as a framing device, was instrumental in sculpting that image. It sculpted a Camelot.

The Best Movies of the Year Where Coming-of-age is Manifested as a Monster

Closet Monster, The Fits

Not enough movies talk about how scary it is to become an adult. I’m in my early twenties, on the precipice of doing adult things like getting a full-time career and job and I still go to sleep at night in the fetal position. So, it is no wonder that puberty, adulthood and burgeoning sexuality has been portrayed in films as some sort of monstrosity. “Closet Monster,” a small Canadian film that I do not know anyone who saw, creates a monster in a teenager who is discovering his sexuality for the first time as he goes off to college. But, the complexity of this film from first time director, Stephen Dunn, comes from the fact that he is not defined by his burgeoning sexuality. Rather, this stress is compounded by the facts of adolescence. Pressure come from his single-parent father, whose self-destruction comes from the loosening of his grasp of his child, his artistic ambitions while confined in a small Canadian suburb, and the trauma from the abandonment of his mother. The monster in the on-the-nose title is not just one of repressed sexuality, but rather repression in all fronts. It’s no wonder that the violent act that occurs in this film is not because of sexuality at all.

The monster in “The Fits,” another small film by a first-time filmmaker, Anna Rose Holmer, also rides the line of imagined or real. Her characters are on the precipice of teen-hood. This is the time when divisional lines are truly cemented, especially gender norms. Her protagonist starts off in a boxing gym, filled with males but is drawn across the hall to an all-female dance troupe. Insecurities are never immediately present especially from those who are feeling it. It usually comes with a look. Especially for a teenager, there is no greater currency than a sense of belonging. “The Fits’s” ability to hone in on that central need in a way that is not pedantic really creates a powerful image. The final shot of bliss as Royalty Hightower finally embraces the monster that would make her belong is one of the great cinematic images of 2016.

The Best Horror Movies Where the Little Girl is the Most Terrifying Things about It

The Wailing, The Eyes of My Mother

To be fair, little girls are terrifying. It probably has something to do with the corrupting of something innocent that gets into the crawl of everyone’s skin. “The Wailing” is a Korean epic of a possession movie. And like the best Korean films, there is fluidity with genre in this film. The film readily goes from horror to police procedural mystery to comedy. Horror films are best when it comes from an assured hand and Na Hong-Jin is certainly assured in his skill and style. He slowly paces out the film with mood, atmosphere and uncertainty. At 2 ½ hours, each layer is lovingly paced. Not all the best movies have something to say in the undercurrent of the film. Some can just be plain scary and fun.

From the epic nature of “The Wailing,” comes the efficiency of “The Eyes of My Mother.” Nicolas Pesce’s first feature runs at a little under an hour and 20 minutes, and will undoubtedly become a cult film in which high schoolers show their friends to revel in how fucked up it is. Once again, this film thrives on the assured hand of Pesce’s direction. The black and white photography, the loving reconstruction of a minimalist household and the combination of aspects of image, costuming and setting creates a total cinematic experience. This film is informed by many in the past. The black and white images is reminiscent of early David Lynch and the economy of violence reminds me of the European art-house horror from Bunuel to Franju. Eyes plays a big role in horror films. It is scary to not be able to see and sight is connected to something so fragile and disposable. The camera is our eyes to this particular world. And the film works with the whole image. In one scene, we saw our hero/monster washing dishes and it is what we see through the window that is grotesque and haunting. These are images, that will not escape anybody who will eventually discover this film.

The Best Movies Where the Traditional Notions of How We Fall in Love is Questioned

The Lobster, The Love Witch

Love is overrated. Well, the way most people think about love is overrated. “The Lobster,” from Greek satirist Yorgos Lathimos, skewers our societal pressure on people to find a partner. The film’s dystopic setting strips away all that feels human so that all that is left is a kaleidoscope view of human interactions. Here, people decide that they are perfect for each other because of the most artificial of reason; short-sightedness, nose bleeds and beautiful hair. Everything is played pitched perfectly to dry deliveries anchored by Colin Ferrell at his best. Oh, and if I was had to be turned into an animal I would be a turtle. They have a portable shelter and could be proficient on both land and water.

I took a B-movie class at SUNY (Inset NY state city here) and the films we saw was a mish mash of exploitation with some rising to the top with subtle feminist’s ideology. But, for most of them, they are pure sexploitation of the woman’s body. Anne Biller lovingly recreates this subgenre of 60’s sexploitation film to create the defining feminist statement of the year. Everything is so acutely detailed that you might get distracted by the immersion into the world. The colors are in technicolor splendor, the clothes are beautifully retro and the acting is purposefully stilted that requires levels of acting that Brad Pitt will never reach. Yet, underlying all this is a story of a woman, a witch, who because of societal pressures keeps changing to what a man wants. She is the fantasy of every man but no man ever becomes the subject of her fantasy. In a genre that is often defined by superficial satisfactions of the id, Biller is able to create a nuanced film while not only embracing all the idiosyncrasies of a form from a bygone age, but by upending them.

Movies that follows the day in the life of its protagonists that eventually leads to drunken screaming and crying

Blue Jay, Krisha

The way people get excited about Marvel Movies is the way I get excited by the latest Mark Duplass joint. His latest film is a micro-budget film with Sarah Paulson that follows the familiar trope of two people walking and talking for a day that had been perfected by Linklater in the “Before Trilogy.” But, what it does with that trope is create an intimate film about lost love that becomes unpredictable. You question why are two central characters are doing what they are doing until the end makes it crystal clear. “Blue Jay” deserves to be watched twice just for the nuances that Paulson is able to portray that will not be clear the first time through. As if anyone needs any reminder that Sarah Paulson was a great actress.

In another micro-budget indie, Trey Edward Shults’ first feature does not even have any actors of note in it. In fact, everyone in the film is played by members of his own family about a story that is based on events from his life. “Krisha” is truly a family affair. Everyone knows the anxiety of coming back home for a big family dinner. Here, Shults films it as if it was a sweeping epic film. The way Terrence Malick films the fields in “Days of Heaven,” is how Shults moves his camera through the big open house as Krisha comes back home after stints in rehab. To call Krisha self-destructive will be an understatement. Here Stults captures moments of family that feels too close to home. With specificity comes relatability; Krisha prepares herself before she goes into the house, children running around with no care for the adult conversations, courtesy small talks with family members who no one cares for. In the end, it is the conflict of hope and shame family has for Krisha that makes the film unforgettable.

Movies in which Adam Driver plays a character who is unsure of himself

Silence, Paterson

Quentin Tarantino has always said that he was afraid about the complacency old age might bring him with his directing. Well, Martin Scorsese has not grown complacent. With “Silence,” Scorsese proves to be as vibrant, self-reflexive and edgy as he was in the 70’s. This film will be the definitive mark of his greatness. “Silence,” is the nearly three-hour epic about Jesuit priests facing persecution for their faith in Japan. The film becomes a meditation of faith in all kinds of obstacles. And as an early-twenties American living in the 21st century with no religion to call my own, I identified with the plight of the people longing for Catholicism and the priests that bring them. Scorsese creates a total cinema that is more sensory than any artificial 4D can create. The theater melts away and you become immersed in 17th century Japan. The first two hours are physically brutal but the genius is with the emotionally brutal last hour when the form of storytelling changes, ending in a beautiful final shot.

Best dog of the year goes to the now departed Marvin, whose presence in “Paterson” puts him in the pantheon of great dogs in cinema alongside Toto and Uggie from “The Artist.” I don’t know how to explain this film to people except to say that it is the exactly what you expect from Jim Jarmusch. He has not made a film like this in a while; a poetic meditation of a bus driver in Paterson, New Jersey. Much of this film was influenced by the poetry of William Carlos Williams and the film moves like a poem. There is a structure but not a traditional story structure. The film ambles along like a NJ Transit bus and characters move in and out. Adam Driver as Paterson warns at one point, before he reads his poems, that it does not rhyme. I feel like I have to preface this film the same way. But, I like my films like that. Jarmusch instead populates the film with colorful characters, including a couple that cyclically fights and breaks up and a gang in a convertible warning about dog-jackers.

Documentaries that subvert the form

Kate Plays Christine, Cameraperson

I love meta explorations into the form of films and why we watch them. So, to see Robert Greene continue to question why people watch film while also making his audiences question what is real brings me pure bliss. Here, Greene follows actress Kate Lyn Sheil as she prepares to play Christine Chubbuck, a real-life reporter who committed suicide on live television in the 70’s. There is no role for Sheil, just the process. But, through the process in which we see her try to get into the head of a person who suffered through manic depression, Greene and Sheil begin to question our obsession with these figures. Chubbuck fought against the increasing exploitation of violence on the news and her senseless violence has since made her into a cult figure that has seen people desperately searching for the video of her death like it is the holy grail. It’s unclear what parts of “Kate Plays Christine” is real but the questions certainly are.

What we learn from that film and “Cameraperson” is the camera is inherently subjective. We see what the camera person wants us to see. And we know based on what images are put together and what sequence they come in. Kristen Johnson has been a longtime cinematographer for some of the greatest documentarians from Michael Moore to Laura Poitras. Through those films, she has saved plenty of footage and compiled a film that is a diary of sorts. Through the montage of out of context footage, we get a story of who Johnson is, despite the fact that we barely see Johnson. The only times we do is when she shows footage of her mom and she documents her struggles through Alzheimer’s. It is an amazing way of presenting self and highlighting the power of the form. Also, it is strangely satisfying to see the philosopher, Derrida, casually crossing a street in Manhattan.

Movies in which little trinkets given to the main character serves as important character development

Kubo and the Two Strings, American Honey

Laika takes a Studio Ghibli approach to filmmaking. Their films take time and persistence to make, not just because of their intricate animation style but because so much attention is put to little humane moments. Animation has the distinct advantage of being able to do the impossible, but the best of animation comes when the human moments are recreated amongst the impossible. “Kubo” is Laika’s crowning achievement in their young history and it is a shame that more people did not see it. It’s an exploration of grief and how people deal with it but it never stops being a children’s film. It achieves the sublime beauty of storytelling and art. This the type of movie that kids will be drawn to because of its beauty and action and watch again to realize the complexity of emotions it is tackling with. Here as an unnecessary dig, “Kubo and the Two Strings” does more for the genre of animation than all of Illumination films combine.

Rhianna is the soundtrack of youth. Last year the French film, “Girlhood” had the best use of “Diamonds” is a film when four young French girls lip-sync to it bathed in neon lights. Now, a bunch of runaways in Andrea Arnold’s “American Honey” does the same to “We Found Love” in a Midwestern grocery store. Rhianna is freedom. And “American Honey” is the truth. A somewhat divisive film, the film follows a magazine crew, a mish mash of reckless youths selling overpriced magazine subscriptions. Our protagonist is Star, played by a future star in Sasha Lane, as she decides to leave her constrained life to freedom with this band of merry people led by Riley Keough and Shia LaBeouf. The film wanders along with this crew who has no destination. Rather, the destination is a journey for Star as she achieves self-actualization through wandering across the American landscape. This is a life unknown to me, a pleasure to be in, and an aftertaste sweet as Tennessee honey.

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ges-sa · 6 years

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Black Panther Review

New Post has been published on https://ges-sa.com/black-panther-review/

Black Panther Review

[vc_row][vc_column][vc_gallery type=”image_grid” images=”28564,28569,28563,28565,28566,28567,28568,28571,28572,28573,28574,28575,28576,28577,28588,28589,28590,28591,28592,28593,28595,28596,28597″][vc_column_text]From the studio that brought you ‘Iron Man’, ‘The Avengers’, ‘Guardians of the Galaxy’, ‘Doctor Strange’ and about 13 other entertaining and action packed films comes ‘Black Panther’; another stunning and thoroughly entertaining movie from Marvel Studios who continue to gain greater acclaim, fans worldwide and momentum with each successive film; delivering something new and original all within the framework of the same overarching genre and interconnected film universe.

The pre-release hype for this movie has taken on a life of its own and the release is being seen a cultural touchstone moment for many people not just in the United States, but around the world as well. And if the unexpectedly vocal and lively reactions of many present at the well attended multicultural advanced screening are anything to go by, this will be a very special film that is near and dear to the hearts of many South Africans too.

Set largely within a previously unexplored corner of the Marvel Cinematic Universe (MCU), ‘Black Panther’ is a coming of age film of sorts that sees T’Challa return to his native Wakanda (a fictional isolated country containing the extremely rare metal Vibranium) following the events of Captain America: Civil War to deal with the pressures of the succeeding the nation as King, the pressures and responsibilities associated with the throne and fulfill his potential as both warrior and ruler…King T’Challa and Black Panther alike. Thus being a grand origin adventure without the obligatory origin story, the defining moment of which was briefly glimpsed in ‘Captain America: Civil War’ two years ago. Luckily for those who have not seen that movie or are not interested in the larger MCU, this film functions perfectly well as a standalone movie and give you all the important information you need to enjoy this movie in a perfectly contained vacuum, while also incorporating brief allusions to other characters and events in the larger MCU, without detracting or distracting from the events of the movie itself, for those who appreciate that aspect of the experience as well.

Wakanda itself is visually breathtaking and looks as spectacular as one can imagine, bringing a different visual flavour to the MCU and most big budget Hollywood blockbusters than we’re used to seeing. Wakanda almost becomes an unofficial character of sorts in the film with a rich visual palette and futuristic look while keeping a distinctly African aesthetic that remains familiar to those in this country and much of Africa too. The term “Afrofuturism” has been thown around. Taking much of the geographical and clothing design inspiration from South African tribes like the Xhosa, Zulu as well as numerous others from Lesotho and the rest of the African continent; Wakanda’s people, along with most visuals in the movie, are brightly coloured and vividly depicted much like the comics that spawned them, looking like an artist’s dream, and give many of the different tribes and locations that comprise Wakanda a real sense of identity and give the land itself more a lived-in realized feel (more so than even Asgard in three films) that I’d personally like to see more of going forward.

Under the directing of Ryan Coogler who brought us movies such as ‘Creed’ and ‘Fruitvale Station’, all the principle and supporting cast really bring it in this movie. There’s hardly anybody that doesn’t stand out or get a moment to shine in this deep ensemble regardless of the size of their role. Chadwick Boseman brings poise, regality and heart to his reprising role of T’Çhalla and portrays a relatable hero despite his royal heritage and one you’ll want to cheer for throughout the film. As good as he is however, the rest of the cast also brings great performances, so much so that T’Challa himself is almost outdone and sometimes overshadowed in his own movie. Much has been said about the villains in previous Marvel Studios movies, but Michael B. Jordan slips into it effortlessly as Killmonger and presents an interesting point of view that adds an extra layer of complexity to the story and is not entirely beyond our ability to empathize with. He unfortunately disappears for an extended period of time early on but when he appears again he makes sure that he’s there to stay.

The surprise of this movie is definitely the female supporting characters who are so good, I’d be disappointed if they didn’t at least cameo in ‘Avengers: Infinity War’ in a few months, if not further films in the future. Lupita Nyong’o depicts a strong a confident Nakia who holds her own against TÇhalla, Danai Guerira commands the screen with her entertaining portrayal of Okoye (The head of the female special forces: Dora Milaje and fierce warrior in her own right); and perhaps the biggest breakout star of the film is Letitia Wright who stars as TÇhalla’s younger sister Shuri. As Wakanda’s designer of new technology, she was an enjoyable character and one who would be entertaining to see share screen time with the likes of Tony Stark in future movies.

Forest Whitaker as Zuri, Angela Bassett as Queen Ramonda, Andy Serkais as Ulysses Klaue, Martin Freeman as Everett K. Ross and Winston Duke as M’Baku were all good in their supporting roles too. There are even appearances by local actors as John Kani returns to the role of the late King T’Çhaka and his son Atandwa Kani plays the younger version of King T’Çhaka in the films prologue.

The music of Ludwig Göransson is both striking and unique, combing a 132 piece western classic orchestra with African percussions and 40-person choir while infusing the score with a distinctly African sounding flair that will set the sound of ‘Black Panther’ apart from any other Marvel Studios and blockbuster movie we’ve heard.

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Highly recommended for any fan of Marvel Studios’ movies, Superhero movies or action adventure movies in general as not only does with deliver heroics and action as you’d come to expect, it also contains hints of political drama thrown in for good measure. One wondered if it could match the level of hype surrounding this release, especially with rather lackluster trailers compared to other Marvel Studios films, but the final product does a great job of living up to that hype and delivering a solid movie that is good by the standards of genera and movies in general. It also does a good job of capturing a hopeful and inspirational vision of what Africa could be for those who stay long enough to see it, much in the spirit of a Nelson Mandela, if not plagued by dictatorships and political instability. This is definitely not a movie to be missed. Go out and enjoy this one as soon as possible to be able to talk about it with your friends, and remember to stay until the very end for the mid-credits and post-credit scenes.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/2″][vc_column_text]

Additional Information

[/vc_column_text][vc_column_text]Reviewed on: Cinema 2D Available on: Cinema 2D, Cinema 3D, 4DX, IMAX 3D, 3D Prestige, D Box 3D Genre: Superhero, Action, Adventure Age Rating: 10-12 PG V Estimated RRP: R50 – R175 Release Date: 16 February 2018[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]

Likes

The vivid, bright colour palette and visuals of Wakanda

The cast

Injects a message without preaching or talking down to the viewer

Dislikes

Killmonger disappears for much of the first half

Great CGI could be tightened in some shots

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feedyourhead96-blog · 7 years

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Reading Response #3: Moonlight

Moonlight (2016) is a coming-of-age film centered around the growth of Chiron, the protagonist. The story takes place in Miami, Florida in an area that is predominantly black, as the movie cast is all Black. Directed by Barry Jenkins, the film is adapted from the screenplay In Moonlight Black Boys Look Blue by Tarell Alvin McCraney and won the award for Best Picture at the 2017 Oscars. The movie unfolds as a triptych, following the journey from childhood to adolescence to adulthood of Little (boy)/ Chiron (teenager)/ Black (adult).

In the first chapter, Little is a neglected kid who is bullied for being gay by his schoolmates, who hurl slurs at him. Hiding in a derelict house from the bullies, Little is discovered by Juan, a local drug dealer. Juan and his girlfriend Teresa befriend him and soon become important figures in Little’s life on top of his drug-addicted mother, Paula. Since Little has no father, Juan becomes his father figure, teaching him how to swim and imparting wisdom to him. Juan tells Little that: “At some point, you gotta decide for yourself who you’re going to be. Can’t let nobody make that decision for you”. Little’s trust in Juan shows when he asks Juan what the word faggot means. Juan replies that it is “a word used to make gay people feel bad” and to not let anybody ever call him a faggot. Juan assures Little that he doesn’t have to know whether he is gay yet. Thus, the first act depicts the beginnings of Little’s journey to self-discovery and sexual awareness.

The second chapter follows Chiron, a lonely teenager, through the introspective exploration of his sexuality. Chiron continues to be bullied by his high school peers, especially Terrell. At home, Chiron suffers the wrath of his drug-addicted, aggressive mother. It is revealed that Juan has died, though Chiron still maintains a strong relationship with Teresa. Chiron develops feelings for his best friend from childhood, Kevin, who is a ladies man. They share a passionate evening on the beach, where Chiron has his first sexual encounter. However, Kevin later agrees to beat anyone up at the request of Terrell, who chooses Chiron as the victim. Under peer pressure, Kevin is forced to beat Chiron. Heartbroken and angry, Chiron retaliates and breaks a chair over Terrell’s back, which gets him arrested.

The third chapter takes place 10 years after the second. Adult Chiron, now nicknamed Black, is a drug dealer and lives in Atlanta, Georgia. He is shown visiting Paula and forgiving her for the neglect she showed him during his childhood. Much to his astonishment, Chiron receives a call from Kevin, who is now a cook. Kevin invites Chiron back to Miami so he can cook him a meal. Chiron drives down to Miami and the two reconnect. Kevin tells Chiron that he has a young son with an ex-girlfriend Samantha. Chiron goes back to Kevin’s place to stay the night and tells him that Kevin is the only one to ever touch him. Chiron rests his head on Kevin’s shoulder and Kevin strokes Chiron’s head. The film ends with Chiron as a child standing on the beach.

The film does a great job at showing the complexity of human sexual identity in a given environment. Sexuality in the movie is never stringently defined. “When we shift to a focus of identity… the notion that sexual identities are fixed, essential, or unchanging” should be challenged (Esterberg, Location 5408). In a way, the films leaves the audience with even more questions. Kevin’s sexual identity is shown through his sexual encounters with both girls (in high school and Samantha) and guys (Chiron). The ending leaves the audience wondering about the future of Chiron and Kevin’s relationship. Chiron’s character also exhibits characteristics of being demisexual. Demisexual “indicates an interest in sex that develops only … after one feels very close and intimate with someone … [and is an identity term] developed by the asexual community to more fully account for the complexity of lived experience of asexuality” (Przybylo, Location 4679). Chiron does not actively seek out sex from Kevin. A big part of Chiron’s attraction to Kevin stems from the fact that he has always had a close friendship with Kevin. Thus, Chiron could have very well been asexual though this may not have been the intention of the director.

The film Moonlight is important because it centers around issues of Black masculinity as well as Black male sexuality. The film presents an intersectional snapshot of a Black man coming to terms with his sexual identity. Filmmakers and movies rarely depict Black gay men as central to the storyline. Furthermore, Kevin, also a central to the story, is a Black bisexual character. Since the film has become so renowned, it has allowed more visibility for gay and bisexual sexualities on a national scale. It counters the idea that drug dealers are threatening and dangerous people with the character Juan, who showed great care for Little. It counters the idea that masculinity in Black men has to be characterized by heterosexuality, aggressiveness, and physical strength. Characters in Moonlight display humanity and vulnerability that is often traits not portrayed in depictions of Black men in media. Ultimately, the film offers a new perspective to view sexuality through Black narratives that can help young Black boys today who are struggling with discovering their Black male sexuality and masculinity.

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