But the sheer enjoyment and fun, the pure exotic spectacle, are irresistible, as is its insouciant way of combining the serious and the comic.
An Immersive Blueprint
Without the comedy, the drama would not be palatable. An affecting lead performance anchors this outstanding debut from comic Bo Burnham about a vulnerable young teen.
- Travel and Travail.
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Elsie Fisher is absolutely outstanding in the role of Kayla Day, like an undiscovered Fanning sister: her smart, observant performance gives the audience instant access to her vulnerabilities, hurt feelings and quiet determination. It throbbed and itched with me long after the film was over.
Long-suppressed Aretha Franklin documentary, shot by Sydney Pollack during recording sessions in a Los Angeles church. How incredible must it have been for those who were there in person. Ciro Guerra-directed drama about marijuana trafficking in Colombia and the culture of the indigenous people involved. Are these ceremonies accurately reported? But the film shows cultural expressions being intensified and warped by the new energies of the drug trade.
It is an utterly distinctive film-making, executed with ruthless clarity and force. Smith seizes his chance to let it out again and do what he does best. Faraut seeks to elevate him as a singularly tortured creative, an auteur in sports socks.
The Theatre Times | Worldwide Theatre News
His face set in that teenage De Niro scowl, he offers no celebration, not even a fist pump; coaches will recoil at his tendency to stop after each shot, as if anticipating the worst. There are electrifying moments where he stares down the lens mid-match with that signature mix of aggression and derision. Green, J. Bloomington, Indiana: Indiana University Press, Haynes, Rosemary, and Brian Taves.
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Library of Congress, Hurston, Zora Neale. Lant, Antonia, ed. New York: Verso, Love, Theresa R. Harold Bloom, ed. New York: Chelsea House Publishers, McGilligan, Patrick. New York: Harper Collins, Musser, Charles. Jeffrey C. New Brunswick: Rutgers University Press, Nevergold, Barbara A. Seals, and Peggy Brooks-Bertram, eds.
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Woman In Black – Live Theatre Review Essay
Sexton, Jamie. Silverstein, Louis. Chronology, Part Four —April 1, Sampson, Henry T. But Erica was a black girl. She fixed me with a telltale look that only another black woman can give you, a look that said, Girl, be for real. She had seen through the veneer, seen the lie I was telling. It was devastating. And life-changing.
Black women have the right to be mad as hell.
We have been dreaming of freedom and carving out spaces for liberation since we arrived on these shores. There is no other group, save Indigenous women, that knows and understands more fully the soul of the American body politic than black women, whose reproductive and social labor have made the world what it is. This is not mere propaganda. Black women know what it means to love ourselves in a world that hates us. We know what it means to snatch dignity from the jaws of power and come out standing.
We know what it means to face horrific violence and trauma from both our communities and our nation-state and carry on anyway. But we also scream, and cry, and hurt, and mourn, and struggle. We get heartbroken, our feelings get stepped on, our dreams get crushed.