REVIEW: AND SO IT BEGINS (2024) is Nostalgic Yet Unbalanced

Ramona S. Diaz’s latest documentary, AND SO IT BEGINS (2024), follows Former Vice President Leni Robredo's campaign during the 2022 Philippine presidential election. It seems to be a fitting addition to a potential Diaz Boxset with her earlier work, A THOUSAND CUTS (2022). The film attempts to provide an overview of the country's political landscape in the wake of Former President Rodrigo Duterte. At the same time, it captures the passionate support for Robredo and the rise of the Pink Revolution—a movement symbolizing hope, decency, and a collective push for change.

From the outset, Diaz sets the tone by showing a telecast of former President Duterte disparaging Robredo. Cut to a public speech where Duterte, in his typical fashion, makes a crude joke about Robredo's skirt, which gets shorter every time he sees her. This illustrates the stark contrast between Duterte's narcissistic vulgarity and Robredo’s dignified decency. As a storytelling technique, this is quite a great start. Such polarity establishes the core tension for the rest of the narrative, presenting not only the unpredictable nature of Duterte but also his followers' alarming tolerance of his behavior. Yet, while Diaz' opening scenes capture the divide between those who admired Duterte's strongman persona and those who rallied behind Robredo’s values, this seems to have diminished as the documentary unfolds.

AND SO IT BEGINS' most compelling aspect is its portrayal of the Pink Revolution. Diaz manages to capture a glimpse of the magic of this grassroots movement as it rapidly gains momentum. In it, we see artists, influencers, LGBTQIA+ members, and ordinary citizens under the Pink Flag engaging in door-to-door campaigns, flash mobs, feeding programs, and social media training for volunteer work.

Day after day, the spectacle of swelling crowds, with their power and appeal, takes center stage in Diaz’s narrative, consequently setting aside a deeper discourse on Robredo. While Diaz successfully documents the movement’s outward manifestations, her commentary falls short of delving into the environmental factors and contemporary Filipino psychology that fueled its growth, missing the opportunity to explore how word-of-mouth, personal reflection, and the collective yearning for change blended to create such a significant phenomenon.

The introduction of Maria Ressa, CEO and Founder of Rappler, adds another layer to the documentary. Diaz revisits Ressa’s struggles under Duterte’s regime, including the legal threats and cases filed against her and her team of young journalists. These moments echo the themes of A THOUSAND CUTS as they rekindle those familiar feelings of undeniable disgust and continuing frustration over the state of justice during the time of Duterte. However, while Ressa’s story is powerful and relevant, its inclusion presents an uneven focus compared to the exploration of Robredo and her opponents—who arguably deserve a deeper examination given the film’s subject matter.

Consequently, the film falls short in its political commentary. By focusing predominantly on Robredo’s campaign with an additional layer of Maria Ressa's story, Diaz misses the opportunity to present a balanced critique of the election. It overlooks her opponents' strategies, communication tactics, and psychological maneuvers, particularly Ferdinand "Bongbong" Marcos Jr., whose campaign was critical to the election's outcome. This unbalanced narrative limits the documentary’s ability to engage viewers in a broader discussion about the complexities of Philippine politics.

As a result, it soon becomes more of a nostalgic revisiting for those who participated in or supported the Pink Revolution than an analysis of the 2022 election. While it offers a poignant viewing experience, especially for those who hoped to see a return to decency, compassion, and freedom in the country, its impact is limited. The film preaches to the choir by connecting only with those already aligned with Robredo's cause but failing to reach and challenge a wider audience.

Don't get me wrong, dear readers. I did enjoy AND SO IT BEGINS, and I am glad to have seen it before it closes. I even regretted not having brought a tissue. But enjoying such an offering is only half the experience. A documentary like this, which deals with such political and social themes, deserves a critical viewing, at least. It should challenge us to think a bit deeper, ask more questions, and strive for a broader understanding of the complexities it presents.

To say that AND SO IT BEGINS is significant is arguable. However, to say that it offers a refreshing review of how we once hoped—and prompts us to revisit our current hopes—is quite acceptable. It feels like Diaz' love letter to us who have, once in our lifetime, carried the Pink Flag with yet another widow on the political stage, hoping for change, decency and good governance. That, in itself, is a good thing.

Yet, its lack of intensity and depth falls short of pushing us to continue the conversation, let alone encouraging others to revisit their perspectives. Diaz’s portrayal of Robredo’s campaign and the Pink Revolution is both inspiring and heartbreaking. However, the film’s shallow focus and unbalanced perspectives prevent it from achieving the broader and deeper engagements that such a subject matter demands.

A ROYAL PHENOMENON: SIX THE MUSICAL ARRIVES IN MANILA THIS OCTOBER

Manila, Philippines – The Queens are ready to reign supreme in Manila as Kenny Wax, Wendy & Andy Barnes and George Stiles, in association with GMG Productions, proudly presents the hit musical directly from the West End, SIX the Musical. The production is set to dazzle Filipino audiences with its revolutionary take on history and music, with a strictly limited season in Manila, running from October 1 to October 20, 2024 at the Theatre at Solaire.

SIX tells the extraordinary story of the six wives of King Henry VIII, who step out of the shadow of their infamous husband and reclaim their own narratives. Written by Toby Marlow and Lucy Moss, the modern-pop inspired musical brings these historical figures to life, portraying them as fierce and influential pop stars in their own right. Audiences are taken on a journey through the lives of Catherine of Aragon, Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine Howard, and Catherine Parr, each telling their own story and reclaiming their own narrative.

Since its debut at the Edinburgh Festival in 2017, SIX has received widespread critical acclaim, leaving audience enthralled by its infectious energy, catchy tunes, and empowering message. UK’s The Daily Telegraph called it “A theatrical phenomenon”, while US’ Vogue writes the show as “A rioutous explosion of wit that speaks strongly and vibrantly to today.”

SIX has also received well-deserved recognition in the industry, winning 35 major international awards, including two prestigious Tony Awards and a Grammy nomination. Today, the global hit has been seen by over 3.5 million people worldwide every year since its premiere, and has toured internationally in the United States, Canada, Australia, and South Korea.

Carlos Candal, GMG Productions’ CEO, expressed his excitement, "Bringing SIX The Musical to Manila is a momentous occasion. The energy and impact of this production are unparalleled, and we believe Manila audiences are in for a royal treat. This is not just a show but an experience that celebrates the strength and resilience of women in a way that is both entertaining and empowering."

The Manila season is presented at The Theatre at Solaire by GMG Productions, with tickets on sale on April 19 only through TicketWorld. Theatre fans can enjoy exclusive first access to the show with UnionBank of the Philippines as the show’s official sponsor and pre-sale partner or through the GMG Six the Musical waitlist at www.gmg-productions.com. The Waitlist will run from March 10 to April 12, with the Pre-sale Period running from April 15-17.

Be part of HER-story when SIX the Musical arrives at The Theatre at Solaire in October 2024. For updates and exclusive announcements, visit www.gmg-productions.com or follow GMG Productions @gmg.productions.

REVIEW: PAST LIVES (2023) is a love story you will love to remember

PAST LIVES (2023) is a film that weaves together a tapestry of themes - love, ambition, race, relationships, distance, technology, silent struggles, and migration, among others. But, what's remarkable is its ability to blend these diverse elements into a symphony, creating a melody that resonates. To say the least, it is a perfect film

Seung Min Yim as young Hae Sung and eung Ah Moon as young Nora in PAST LIVES (2023)

"Some crossings cost you your whole life," reflects the essence of human journeys, as portrayed in this deeply personal film. It tells the story of Nora, an immigrant who left her childhood, identity, and Hae Sung - her childhood love behind when her family migrated to Canada when she was twelve. Now, 20 years after and living in New York City, she finds herself torn between her past as Na Young and her present as Nora, with her childhood friend Hae Sung.

Director Celine Song's structure thrives on linear storytelling with moments of reflection. It invites the audience to question the dynamics between its characters, setting the stage for an exploration of their relationships. As we journey from Seoul to New York City, we witness the evolution of Nora's life and her virtual connection with Hae Sung, grounded in emails and Skype calls. However, the pull of their relationship threatens to disrupt Nora's pursuit of her dreams in New York.

Nora's eventual meeting with Arthur, her future husband, introduces the concept of In-Yun. It emphasizes the profound connections people share across lifetimes. The film dives into their evolving relationship, revealing layers of connection and understanding. As they navigate their life together, Arthur grapples with the parts of Nora he can't access, ultimately learning to appreciate the love they share and accepting what they cannot.

Greta Lee as Nora and Teo Yoo as Hae Sung in PAST LIVES (2023)

The film reaches a poignant climax when Hae Sung visits New York. Their reunion after twenty-four years is filled with unspoken emotions, and Nora becomes his guide to the city. Through their gaze, we see New York anew, and their eyes often find solace in each other. Yet, Nora is committed to her life with Arthur, and she must convince both men that her choices are deliberate. While she misses Seoul, it's not her home, and her past, embodied by Na Young, remains elusive.

During these moments, you start to get answers to questions that have been lingering early on in the film. Yet, Song restrains her characters from revealing too much. It's intriguing how Hae Sung, a tourist from Seoul, sees Nora as his personal embodiment of New York. Around them, the city appears as it is, unremarkable, lacking color and vibrancy. But whenever Hae Sung marvels at Nora, like a tourist who has finally seen the place has been dreaming to see, he knows that he has truly "arrived."

Song's debut as a filmmaker is a masterclass in storytelling. As a playwright turned filmmaker, her narrative centers on Nora and Hae Sung. She creates an ambiance where the world around them blurs dreamily when they are together. There's an unmistakable bond between them, even though it never had the opportunity to solidify. Each yearning gaze, late-night video call, unsent email, or excited smile traces the path of their relationship. Instead of unnecessary melodrama, the characters' subtle dialogue engages through authentic conversations that uncover each other's vulnerabilities.

Greta Lee as Nora, John Magaro as Arthur and Teo Yoo as Hae Sung in PAST LIVES (2023)

With a gentle touch, cinematographer Shabier Kirchner visualizes the themes of PAST LIVES. From intimate close-ups of Nora's face to Hae Sung's emotionally charged reactions that speak volumes without the need for words, Kirchner was able to create visual dialogues we rarely see in cinema nowadays. During their long-awaited reunion, the two effortlessly transition from basking in the magic hour's glow on Brooklyn's waterfront to sunny ferry rides and street-lit walks in the East Village.

It's a playful juxtaposition to the film's earlier setting in Seoul, where young Hae Sung and Na Young navigated hilly routes home and played among modern sculptures in a park. Regardless of the location, Kirchner's camera conveys their undeniable connection, emphasizing that nothing else in the world matters as much as this moment.

The movie integrates Nora and Hae Sung's shared background, making it a vital part of the narrative, akin to a secondary connection beyond their individual interests. This shared background represents the life that Nora left behind when she moved away—a piece of herself sacrificed for the promise of something new. Their shared language becomes a source of connection that her American husband can't fully share, allowing Nora and Hae Sung to maintain a private dialogue even in his presence.

Greta Lee and Teo Yoo, as Nora and Hae Sung, deliver impeccable performances through a sense of comfort and elegance. The characters' eagerness to engage in conversation with each other feels entirely authentic, and their meandering conversations come with a certain degree of authenticity.

Lee and Yoo succeed in conveying a deep sense of history between their characters through their gazes alone, all without the need for words. Their subtle expressions reveal the restrained emotions lurking beneath a polite smile, and a single heavy sigh is all it takes to unleash tears for a love that was never meant to be - a life that remained elusive, and a childhood that fades further into the past with each passing year.

Because, having a shared history doesn't necessarily mean sharing the same emotions, as highlighted by the recurring motif of In-Yun - the encounters in past lives that can influence present connections. While Nora dismisses this concept with a laugh during her initial encounter with Arthur at a writers' retreat, Hae Sung takes it seriously as he contemplates his long-anticipated visit to New York. Ultimately, they find themselves on divergent paths, yet deep down, they remain the same individuals who first locked eyes as children.

PAST LIVES is a film for anyone who fell in love and lost. A gem we rarely see on the silver screen nowadays. It is a love story that resonates with our own love stories in one way or another, making it quite hard to forget. It says that we can cherish the memories of our past lives, all the while recognizing those that we lost: childhood treasures left behind, paths left untraveled, and relationships that were never destined for us.

Go see it, friends.

NEWS: Ballet Manila partners with Ateneo de Manila's ARETÉ

Quezon City, Philippines - Ballet Manila and ARETÉ, Ateneo De Manila University's hub of creativity and innovation, have partnered to promote the appreciation and accessibility of classical ballet in northern and eastern Manila.

The partnership, recently announced at Hyundai Hall within ADMU's ARETÉ, enables both institutions to collaborate on a series of shows scheduled for this venue. This initiative aims to provide an additional venue for Filipinos, particularly for audiences and potential talents residing in Quezon City and nearby regions, to enjoy Ballet Manila's performances and their regular shows at Aliw Theater.

ARETÉ is a generative space housing theaters, art galleries, studios, laboratories, maker spaces, teaching and meeting rooms, and various open areas. This multipurpose environment fosters collaboration and knowledge sharing among diverse groups representing various fields and disciplines.

Lisa Macuja Elizalde, Ballet Manila's artistic director and chief executive officer, expressed that the collaboration with Ateneo's ARETÉ is timely. Following the conclusion of its 25th performance season, the company is eager to build on its momentum by co-producing additional shows aimed at reaching a wider audience. Ballet Manila remains committed to making ballet accessible to the public and fostering a greater appreciation for this art form.

(from left to right) Dr. Estelle M. Larido, Martin Lawrence, Lisa Macuja-Elizalde, Dr. Ricardo Abad

Dr. Ricardo Abad, ARETÉ's artistic director, anticipates collaborating with Ballet Manila will foster greater interest in the performing arts among Filipinos. He has long explored partnerships like this for ARETÉ and was delighted to discover that Macuja-Elizalde shares a similar vision for Ballet Manila. Dr. Abad believes this partnership will strengthen their creative and social objectives as they engage with a broader spectrum of audiences and communities.

To kick-off the partnership will be the re-staging of Martin Lawrance’s modern and Filipinized iteration of “Romeo & Juliet,”; which was part of Ballet Manila’s recently concluded 25th performance season, “Of Hope & Homecoming”. Show dates are on September 16, 2023, at 3:00 p.m. and 8:00 p.m. and September 17, 2023, at 5:00 p.m. at the Hyundai Hall, ARETÉ in Ateneo de Manila University. Tickets to the shows are available through Ticketworld at www.ticketworld.com.ph.

Areté and Ballet Manila have hinted at their plans for 2024, which encompass a collaboration with the Lisa Macuja School of Ballet and diverse, immersive learning opportunities in dance, among other initiatives.

Know more about Ballet Manila, visit https://balletmanila.com.ph/ and ARETE https://arete.ateneo.edu/

WATCH BEHIND THE CURTAINS: Exploring tick tick BOOM!'s Set Design with Mio Infante (Episode #1)

In our first BEHIND THE CURTAINS episode, Award-winning Filipino scenographer Mio Infante walks us through his design and creative concepts for 9 Work's Theatrical's 2023 production of Jonathan Larson's tick...tick...BOOM!

The “Behind the Curtains” docuseries is a collaborative effort between BroadwayWorld Philippines and Culture Nurtures. With producer-approved access, we capture behind-the-scenes, pre-show, and live performance moments.

We aim to spotlight the creative process and dedication to the arts, all while respecting privacy and sensitivities. Ensuring artist safety and production integrity is paramount. This docuseries celebrates art while honoring those involved.

Special thanks to Jonjon Martin of 9 Works Theatricals, Oliver Oliveros of Broadway World, Jude Cartalaba of The Modern Scribe and the wonderful people of 9 Works Theatrical. We wouldn't have done it without you.

On behalf of Culture Nurtures and BroadwayWorld, are happy to share with you our first episode of BEHIND THE CURTAINS.

Watch here.

RED, WHITE & ROYAL BLUE (2023) is a fairy tale you just can't resist

Director Matthew López marks his debut with RED WHITE & ROYAL BLUE (2023). Its narrative merges the familiar elements of a classic cinematic romance with the unique complexities of two highly visible young men striving to safeguard their relationship from public scrutiny. Based on Casey McQuiston's novel, the film delves into the story of a British prince and the son of the President of the United States. Both aim to keep their romantic connection concealed to ensure their personal privacy and the avoidance of any family-related controversies.

Setting the groundwork, the movie takes us through the expected cinematic journey, where initial discord transforms into reluctant understanding, followed by flirtatious exchanges and the eventual realization of love.

Did I hear you say Wattpad? I can't blame you.

At the heart of the story is Alex Clarmont-Diaz (Taylor Zakhar Perez), son of President Ellen Clarmont (Uma Thurman) and Congressman Oscar Diaz (Clifton Collins Jr.). He's all about politics, but they've got him on glorified coffee duty, like escorting Nora, the granddaughter of the US Vice President (Rachel Hilson, a real charmer), to the wedding of the King of England's grandson, who's next in line to the throne. Alex isn't too jazzed about being a glorified photo prop and wouldn't care less about meeting Prince Henry (Nicholas Galitzine) if he tried.

Eventually, an incident at the wedding reception leads to a diplomatic necessity for both young men to project a close friendship on the global stage. While this setup is a trademark of romantic comedies, the plot goes beyond the conventional. López steers the narrative between slapstick humor and poignant moments, underscored by a diverse and culturally representative cast that incorporates their respective backstories. The film dives into themes of identity and familial acceptance as it highlights the importance of authenticity in a world often dictated by perceptions.

With a background in musical theater, López brings a sense of rhythm and pacing. Notably, scenes like the New Year's Eve party showcase a keen sense of timing. A scene involving the main characters confined in a closet blends discomfort, realization, and respect, revealing López's ability to present nuances sequences.

The cast is notably diverse, portraying characters with an effortless sense of authenticity that aligns with the narrative' setting's themes. Supporting characters show a strong self-assuredness, evident in their unapologetic embrace of their identities, including accents and cultural backgrounds.

An interaction between Alex and a Hispanic journalist highlights the dynamics of their exchange. The journalist's attempt to establish rapport by conversing in Spanish creates a nuanced moment of connection, despite Alex's apparent unease. Collins' Oscar, a supportive father, offers a poignant moment that underscores his endorsement of his son's relationship with Henry. During this exchange, Oscar briefly alludes to the challenges he and Ellen faced due to their differing cultural backgrounds, suggesting a theme of societal skepticism.

RED WHITE & ROYAL BLUE triumphs in portraying characters who navigate their relationships and identities with candor while avoiding the need to conform to societal expectations. This candid approach adds depth to its characters and enhances its storytelling. The film handles intimate moments with sensitivity, portraying the protagonists' sexual relationships with care. Alex's bisexuality and Henry's homosexuality are explored with an emphasis on their personal growth and self-discovery.

Don't get me wrong. At the end of the day, this one is still a fairy tale. And fairy tales adore their neat little bows. Sure, there's the odd twist that's smoother than a stick of butter. But the sizzling chemistry between Perez and Galitzine is like a firework show you just can't look away from. To enjoy this one is to allow yourself to plunge headfirst into this fantasy vortex.

After all, isn't that what a happily ever after is all about?

MEG 2: THE TRENCH (2023) is a movie where big sharks simply make a cameo

MEG 2: THE TRENCH (2023) really knows how to showcase its biggest stars - that is by keeping them off-screen. After all, who wants to see massive sharks in a shark movie, right? Who cares if they're the title's selling point; let's give them bit parts and make them the understudies to a story that's apparently more interested in anything but the actual Megs in the room.

It's like buying a ticket to a concert to see the headlining band, only to have them perform a 30-second tune during the intermission. But who needs epic shark spectacles when you can witness CGI so stiff it makes you wonder if the sharks are auditioning for a claymation remake?

Of course, when your antagonist is a prehistoric mega-shark that could swallow a school bus whole, why bother giving it anything more than a cameo? It's not like it has to break a sweat to be the terrifying centerpiece of the show. It just nonchalantly yawns and humans start offering themselves as a light appetizer. You'd think such an all-powerful creature would have a packed destruction schedule, but no, it's more like a bored guest at a dinner party, occasionally joining the conversation with a bite or two.

Ah, and let's not forget the non-shark action extravaganza that fills the screenplay like a buffet line at an all-you-can-eat diner. We're treated to illegal mining escapades for precious metals, a leisurely underwater stroll that conveniently ignores the pesky physics of water, and a child actor whose facial expressions are so exaggerated that they could star in a vintage Disney Channel show. Then there's a traitor subplot, a flurry of one-liners that make you cringe harder than a sunburn, and an oceanic exo-suit adventure that's supposed to be exciting but mostly feels like an out-of-shape turtle race.

Enter Jason Statham, the D-list action hero who's here to save the day. Sure, he can do stunts with the grace of a charging bull and survive underwater without so much as a snorkel, but his charisma has gone on vacation – possibly to Fun Island, the fictional resort in the movie's second half where humans voluntarily become shark snacks. And Statham's acting here is to peak Statham what a rubber shark toy is to the real deal – a hollow imitation.

But who needs Statham to be compelling when we've got a gigantic shark on the prowl? Because, as MEG 2 gleefully proves, it's far more thrilling to watch Statham play with a Jet-ski and recite cringe-worthy lines than to see him desperately try to outshine a CGI beast that's genuinely jaws-dropping... just not in the way they intended.

Oh! And let's not forget the movie's anthropocentric nature. Because obviously, if a megalodon were to escape from the depths of the ocean, it would naturally prioritize munching on humans – because who can resist a little human-flavored snack, yes? It's like expecting a marathon runner to find joy in racing against snails; the effort-to-reward ratio just isn't worth it. But in true human fashion, we assume everything new and colossal must be captivated by us, even if it's for a fleeting moment before turning us into an underwater buffet.

The plot, if you can even call it that, twists and turns like a lost fish trying to find its way home. It's almost as if the convoluted mess is there to keep us distracted from the real stars of the show – the colossal sharks. Director Ben Wheatley takes the reins this time, injecting style into the film like a desperate attempt to breathe life into an otherwise dead fish. The film's hybrid horror-action genre draws inspiration from the likes of ALIEN (1979) and THE ABYSS (1989), but it's more like a parody gone awry, with scenes set in the metallic bowels of the Oceanic Institute that feel like an unintentional joke.

Wheatley tries to make walking on the ocean floor feel otherworldly, but it's as believable as claiming water is as dense as air – just ask that oblivious alien tourist visiting Earth for the first time. And yes, let's not miss the subtle nods to the JAWS sequels because who doesn't love a reminder of the franchise's lowest points? It's like tipping your hat to cinematic blunders while casually throwing shade on the very essence of the genre.

MEG 2: THE TRENCH clearly excels in one aspect: leaving viewers wondering how a film centered around massive, menacing sharks can feel as lifeless as a floundering fish out of water. It's an art form that crams so much disappointment and missed potential into a single movie. At least this one is proof that not all big fish stories have happy endings – some just leave you with a sinking feeling of wasted time and an even deeper appreciation for the classics.

REVIEW: SOFT AND QUIET (2022) is necessary horror

The film starts with Emily (Stephanie Estes) taking a pregnancy test and experiencing an emotional reaction to the results, which are withheld from the audience. The camera follows her as she exits the bathroom, clutching what appears to be homemade baked goods, while she walks with purpose. We soon discover she is an elementary school teacher as she sits with a student awaiting his parent's arrival. Emily emerges as a relatable figure, an ordinary white woman facing personal struggles yet aiming to mold young minds.

The façade of innocence is quickly dismantled as Director Beth du Araujo introduces seemingly benign characters only to unveil their underlying intentions. This becomes evident in Emily's conversation with her young student, instructing him to reprimand a woman of color who is cleaning, citing a fabricated reason related to slippery floors. Her words carry a venomous edge aimed at humiliating a woman simply performing her job, all the while sowing seeds of racism in the child's mind.

From there, the narrative takes a dark plunge. Emily attends a church meeting alongside fellow attendees who appear as typical middle-class white wives and mothers, with a sprinkle of younger women. Initially, the meeting's purpose is vague until the camera reveals Emily's cherry pie adorned with a swastika carved into its crust.

The camera lingers on this image, with the pie's juices resembling blood oozing from an open wound. This stark contrast between an all-American homemade pie and a symbol of Nazi hatred captures a powerful commentary on modern America – an exterior of wholesomeness tainted by an undercurrent of hostility towards those deemed different.

Each member of Emily's emerging far-right women's group embodies a distinct facet of white supremacy: from the radicalized punk to the embittered Boomer, the homeschooling housewife, and the entrenched legacy racist. Their justifications for their prejudiced perspectives cover a wide spectrum as it envokes notions of "common sense," "pride in heritage," and "reverse racism." They contend that the movement began with Black Lives Matter and emphasize that they harbor no hatred toward anyone; they're simply safeguarding their way of life. These familiar catchphrases have circulated in political engagement over the past several years. De Araújo methodically presents each of these perspectives, which the actions of her characters will later dismantle.

From then on, SOFT AND QUIET (2022) descends into an abyss of disgust. The women casually spew slurs and hate speech, seamlessly weaving their toxic opinions into conversations about the weather. They form a group named the Daughters of Aryan Unity, and the hate-filled rhetoric escalates into violence and hate crimes through a disturbing home invasion.

The film unfolds in real-time. It employs a single continuous take that pulls the viewer into the core of the group's dynamics. This is particularly evident in the initial meeting sequence, as the camera circles the group and captures each attendee's face. Here, the viewer is virtually in the room, listening in on the conversation, with du Araujo and cinematographer Greta Zozula ensuring the audience remains engaged. The absence of breaks denies viewers the opportunity to disengage from the disturbing content. The final shot finally allows a moment to take a breath and confront the reality woven into the film's fabric.

This debut film's impact is driven by the performances, which are strikingly believable to the point of discomfort. Stephanie Estes portrays Emily with icy confidence, fully embodying her conviction in her twisted mission. Olivia Luccardi's portrayal of Leslie, initially introduced as reserved and gentle, evolves as her true nature surfaces. Estes and Luccardi become foils for each other, embodying characters who share a disturbing vision yet differ in their willingness to embrace white supremacy. Luccardi's ability to transform Leslie into a reprehensible villain is both captivating and deeply unsettling.

According to a press release, filmmaker de Araújo shares that her film draws inspiration from the viral incident in May 2020 involving a white woman named Amy Cooper, who harassed Black bird watcher Christian Cooper in Central Park. While the characters' actions in her film are more extreme, they mirror everyday occurrences. The film highlights that white supremacy is not limited to men in hoods and cross burnings; it pervades various aspects of society, from suburban elementary schools to locally owned convenience stores. The film shows how white women often play a pivotal role in upholding this subtle yet insidious form of racism, which de Araújo refers to as "soft and quiet."

Du Araújo's cinematic devices come together to create a repulsive yet imperative narrative – one that white individuals, particularly white women, should confront to understand the pervasive reality of racism and the daily propagation of Nazi ideology. SOFT AND QUIET illustrates that the danger facing America is not confined to politics; it exists within teachers, business owners, mothers, and more. Du Araujo seeks to compel white audiences to grapple with this unsettling truth, particularly when awareness is more crucial than ever.

There are no supernatural monsters in this film. No witless jumpscares. No superficial suspense. However, I appreciate the decision to label it as a horror film because it exposes genuine human monsters who reside within our communities, causing havoc among those they deem inferior.

Despite proclamations of support, well-meaning intentions, and performative social media posts, numerous white individuals still grapple with comprehending the notion of white privilege, the subtle variations of racism, and how women exploit their perceived fragility to perpetuate white supremacy. Du Araujo's creation is a searing and essential reflection of the present cultural panorama. From the compelling portrayals by Estes and Luccardi to the persistent tension of the continuous shot that crescendos into a jolting finale, SOFT AND QUIET not only establishes itself as the most unsettling film of 2022 but potentially one of the most disquieting of the 21st century.

REVIEW: TALK TO ME (2023) can be very bad for the bladder

Around forty minutes into the rollercoaster of scares that is TALK TO ME (2023), my bladder decided to declare an emergency. Thanks to a giant Biggie mango iced tea from Wendy's, it felt like a ticking time bomb. But hey, I couldn't abandon my seat, not with the thought of the Philippou brothers' horrifying debut following me in the dark.

So there I sat, squirming in my seat, praying I wouldn't become the star of my very own horror show in the cinema's dark, creepy alleys just to take a pee break. Who needs bathroom breaks when you know that the terror on screen can creep along with you when you leave your seat, yes?

On her mother's tragic death anniversary, Mia (Sophie Wilde) finds solace in the company of her close friends, Riley (Joe Bird) and Jade (Alexandra Jensen), and Jade's no-nonsense mother, Sue (Miranda Otto). With the distance growing between Mia and her father, Max (Marcus Johnson), she seeks refuge at Riley's house, where they can be independent and responsible. However, this freedom also leads to Riley joining Mia and Jade at a party where an underground ritual has been going around young party scenes.

TALK TO ME brings an interesting twist to the classic horror trope of possession as it celebrates the directorial debut of twin brothers Danny and Michael Philippou. Rising to fame with their daring stunts on their YouTube channel - RackaRacka - the duo displays an impressive level of sophistication usually seen in seasoned genre experts.

The film's pace and attention to visual details - from subtle character placements to haunting lighting and intimate close-ups - set a familiar yet unsettling atmosphere. Emma Bortignon's clever use of sound and Cornel Wilczek's muscular score further intensify the narrative's tension, leading to a crescendo of eerie voices, bangs, and bumps that culminate in a disturbing display of violence and terror.

The direction veers away from brainless jump scares, opting instead for a disturbing atmosphere that leaves you on edge. The film sets the stage with clever foreshadowing, particularly when Mia's classmates get entangled in a viral sensation involving spirits and an embalmed hand.

The lingering trauma from her mother's death plays a crucial role in Mia's decisions, as she desperately seeks to fill the void left by her grief. Wilde's exceptional portrayal of a grief-stricken Mia captures the conflicting emotions of heartbreak and numbness, making her character's pursuit of connection all the more compelling. Amidst the unsettling atmosphere, TALK TO ME delves into the addictive allure of the titular game, putting on center stage the dark allure of the unknown.

And it is quite interesting to see how the young blood finds joy in what could be terrifying and dangerous. Here, the Philippous presented a montage that depicts a series of momentary teenage euphorias that can be both fascinating and chilling to watch.

At its core, TALK TO ME revolves around the significance of the grieving process and highlights the potential consequences of seeking escape through euphoria-inducing vices. Mia's journey serves as a vehicle to convey this poignant theme.

The film dives deep into the fine line between subtle dismay and overt horror, making it an emotional cinematic experience. Even with a somewhat predictable ending involving a conniving ghost, TALK TO ME still manages to deliver a gut punch that leaves a lasting impression. With its intriguing themes and brilliant execution, there is much to appreciate in this gripping debut.

Because good horror is not mainly about brainless jump scares and shallow terrors. Good horror thrives on stirring disturbing themes into the plot; displacing likable characters, tearing relationships and infecting hope. Good horror challenges emotions deeper as it disturbs the norms of human connections and poses threats to current comforts.

For the next 55 minutes, I battled my bursting bladder in a heroic effort to avoid facing the terrifying journey to the restroom. I'd rather risk my bladder exploding than go on solo into the unknown darkness. Who knows what horrors lurk in the shadows?

REVIEW: MISSION: IMPOSSIBLE -DEAD RECKONING Part One (2023) is a tough act to follow

MISSION: IMPOSSIBLE - DEAD RECKONING PART ONE (2023) propels into a pulse-pounding adventure, proving once again that Tom Cruise remains the reigning king of action films. Directed by Christopher McQuarrie, this seventh installment in the MISSION: IMPOSSIBLE franchise delivers an engaging blend of espionage, high-stakes missions, and heart-stopping action.

From the very beginning, the movie grips tightly with its tightly-knit narrative. It finds Ethan Hunt (Tom Cruise) and his team tackling a rogue A.I. that holds the potential to wreak a global. With a key split into two halves and the world's superpowers seeking to control it, the IMF team must steer a deceptive path to intercept the key and understand its true purpose.

Engagingly Contemporary Yet Interestingly Nostalgic

What made me entirely engaged is how the film pays homage to other past blockbusters through easter eggs conveniently plotted throughout its sequences. From Brown's THE DA VINCI CODE (2006), to HARRY POTTER AND THE CHAMBER OF SECRET (2002), it blends action with unexpected humor, making the experience ultimately satisfying.

The film interweaves elements from the franchise's past, notably revisiting the 1996 original by Brian De Palma. This connection adds depth to Hunt's character as it explores how he became the renowned agent we know today. Fraser Taggart's cinematography cleverly echoes the first film's style, evoking nostalgia and a sense of cinematic continuity.

Incredible Performances

Henry Czerny returns as the former IMF director Eugene Kittridge. Here, Czerny provides a mystifying link to the past and amplifies tension. Esai Morales stands out as Gabriel, the morally corrupt mercenary whose motivations challenge Ethan's sense of empathy. As the two face off in the Dubai airport, fans are treated to a spectacular action sequence that launches this instalment's high-octane energy.

Hayley Atwell joins the cast as Grace, a pickpocket entangled in the espionage chaos, and her presence adds an intriguing dynamic. Meanwhile, Ving Rhames and Simon Pegg reprise their roles as Luther and Benji, respectively, providing both comic relief and crucial support to Ethan.

And at the heart of it, all is Cruise, who embodies the ever-reliable Ethan Hunt with magnetic charisma and engaging athleticism. His dedication to performing his own stunts amplifies the authenticity of the action sequences. From sprinting through crowded streets to jaw-dropping motorcycle jumps - Cruise's commitment to deliver Hunt is at its best, more than ever. Needless to say, the film's exhilarating action is a welcome departure from the CGI-laden spectacles that have become all too common in modern blockbusters.

Deeper Themes

Amid the explosive action, the film also delves into more profound themes, raising questions about the purpose of Ethan Hunt's unconventional life. As an actor who has faced deepfake controversies, Cruise's portrayal of a movie star battling A.I. adds an interesting meta-layer to the narrative.

Brimming with well-choreographed and practical action, DEAD RECKONING PART ONE feels both engagingly contemporary and nostalgically classic. It reminds us why we love spy thrillers and the joy of watching real stunts on the big screen. I gotta say that it's been a while since I last heard people jumping and shouting in their seats inside the dark of the cinema. Such proof that movie magic still engages and captivates.