Why does a character like “Sully” and his famous landing known as the ‘Miracle on the Hudson’ make us feel sure to laud his heroics and still be indecisive in the case of Snowden? The outcome, is much more tangible to grasp; life or death.
“The Dressmaker” wraps a pig pen of a town and its porky inhabitants in silk. It tackles the feeling of being cursed by your confines and the toxicity of small town gossip mongering; with beauty, death, romance and hilarity.
Director Nate Parker and Birth of a Nation rumbles with the ache of inevitable failure. Where films like Django Unchained allow you the blaxploitation fantasies of exacting vengeance on the worst of the worst; Birth of a Nation wants to reinforce while the historically displaced and disenfranchised have hate tattooed on their very bones. Black voices telling black stories is essential.
Jackie Kennedy, the woman behind one of the greatest and most influential Presidents in the history of the United States, gets an intimate impressionist portrait. Forging the myths of “Camelot,” interrogating the morality of being a widow in the most drastic and heavily scrutinised circumstance; director Pablo Larraín and hypnotic star Natalie Portman finds ways to render gut punching alternate perspectives to well trodden history.
Language and the ability to “articulate” our existence is one of the defining characteristics of the human species. Arrival is about the awakening and ensuing trauma discovering that we’re not alone in the universe.
Nocturnal Animals is a dark tragedy. Ford's motivation for the film is writ large in the opening credits. Obese, grotesque, American women gyrate in slow motion like a 'Fourth of July' themed, trailer park strip show. Like war photography, Ford wants to find the beauty in darkness.