“Vai amplifies Pacifika filmmaking with its slate of 9 directors, all of them indigenous women.”
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“Green Book stuns with its gleeful swan dive into gender roles, complete with petite women stuffed into hourglass corsets and a leading lady we never see outside the kitchen.”
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“Cold Pursuit stumbles in its exploration of how Native Americans are treated in the United States.”
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“The Farewell dives straight into the deep end with authentic representation, handily revealing the infinite diversity within Chinese identity alone.”
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“Lack of racial diversity in Bumblebee is tempered by a complex female lead, with the end result of a rockin’ movie guaranteed to make your Millennial soul soar.”
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“Chloé Zhao’s The Rider serves as a testament for why making the extra effort to tell underrepresented stories matters.”
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“Hereditary literally demonizes a transgender spirit.”
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“I’m flummoxed by how many new (and progressive!) films still fail the laughably easy Bechdel Test.”
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“Eighth Grade helps fill a void of complex young women in film, but its complete disinterest in characters of color feels limiting.”
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“The audience sees Tish and Fonny as they see each other: fully realized, at the center of their world, and as people deserving of love.”
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“Do we really need another Victorian-era tale with colonialist overtones that does nothing different, nor particularly well?”
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“Period films have touched on same-sex romance, but the way The Favourite centers a lesbian love triangle feels utterly new.”
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“Roma headlines an Indigenous Oaxacan woman who pierces the idea of a nebulous Latino or Hispanic identity.”
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“More than simply highlighting prejudice, The Hate U Give peels back another layer and examines the issues that can divide the Black community from within.”
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“As a woman of color who never felt included in the Christmas movies I’d seen growing up, The Holiday Calendar clicked for me.”
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“It’s life-affirming to watch a trans woman direct a movie about whatever the hell she wants.”
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“Disability gets treated as a plot device, conceived solely to further Adonis’ story.”
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“Although marketed as a lighthearted rom-com with positive messages, Sierra Burgess crosses too many ethical lines to fully enjoy.”
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“Robin Hood plays into persistent European tropes that mischaracterize all Arabs as Moors and all Moors as Black.”
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“While Rotten Tomatoes pegs The Darkest Minds at a depressing 17%, its audience score of 74% tells a different story.”
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