Superhero movies have traditionally catered to a male audience with an emphasis on superbly choreographed action sequences with much flare and destruction. ‘Wonder Woman 1984’ turns that on its head. In one of the first action sequences of the movie, we get an “I hate guns” from Diana, as she gracefully and comically stops a robbery at the mall.
The film unfolds over the city in the darkness of night, which, as we know, is where we can see stray shapes and shadows in the corners. It may be the end of a workday, or it may be that those whom Chippa meets belong to the dregs of an indifferent society, people who are so invisible that they cannot help but allow Chippa such free rein.
Umbartha is one such classic that follows the journey of a woman, Sulabha Mahajan (played by Smita Patil), who defies her conservative husband and mother-in-law’s wishes and sets out to build her own identity.
There is a great conceit at the heart of the film directed by Pete Docter and Kemp Powers, namely the concept of the soul and its transcending worlds.
The description of the short film mentions ‘daring’ and ‘Islamic state’ - apart from the general sexual awakening arc of the story - and these two points become important takeaways for the audience after they have seen the film.
Out, which was created and intended for international release, is as aesthetically appealing as it is heartwarming. There is nostalgia in its style of animation, with every frame making one feel as if they are looking at a canvas painting gifted years ago by an old lover.
It is this bridge between Irby the Author and Irby the Character that makes the book more than a comedy monologue as it is reading between the lines that tells you the whole story.
The authors spent two decades to collect and compile all these photos of men which remained unpublished till now. In the collection’s foreword, the authors explain how they stumbled upon a photo of two men from the 1920s in an antique shop in Dallas.
What is groundbreaking in Kundalkar’s novel is that having written in Marathi, in 2006 for a regional audience, Cobalt Blue not only begins with the narrative of a queer person but also explores his sexuality without any hesitation.
The Indian queer is sure to find semblances of vulnerability arising out societal oppression and disgust toward queer people, making it watch-worthy.
The film manages to show a balanced view of how queer Muslim individuals navigate through the intersections of their identities.
I personally found the storyline predictable and some of the plot overdone however, there definitely is a strong emotional pull that can capture anyone’s heart.
All in all, Plastic Hearts is an unexpected but competent follow-up to the extraordinary She is Coming EP. With this record, Miley Cyrus proves, for the hundredth time, that when it comes to music, she knows what she is doing.
Paatal Lok explores the crime thriller genre brilliantly with its fast paced storytelling and the way it managed to sew together the loose ends with its climax, even if I say so myself. However, the show’s actual intrigue comes from its critique of the Indian polity. It attempts to comment on the prevailing caste hierarchy, Islamophobia, and transphobia in the country.
Burbidge’s personal, sexual-exploration accounts were published in an Australian magazine in 1987 without his knowledge. But, later, he took upon himself and told his story of coming to India and embracing himself as is.
LGBTQ+ characters are not Christmas ornaments that’ll get you an easy ‘woke’ pass. The main challenge before creator Mike Flanagan was to weave the romance into the horror without making it look tokenistic.
Schitt’s Creek shows no compromise in representing the unconditional and wholesome love between two men. It ensures that their relationship engages with the audience in the same capacity as any other heterosexual relationship would.
I hope and pray that its audiences are only watching it for mindless escapism rather than admiration.
The plot is generic, and effectively delivers the ‘boy meets girl’ and ‘opposites attract’ tropes it promises.
In creating Nila, Sowmya Rajendran has succeeded in engaging multiple realities beyond what is being primarily sold: femme agency; they have brought to us a fierce, restless, and brimming child, who is extremely competitive, has a unibrow and muscular arms, and is very conscious of her interpersonal relationships.