“Wicked’s thoughtful casting underscores its story of social injustice and the fight for equality.”
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“Anora brilliantly demonstrates how gender, race, and class can intersect in one character.”
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“The Room Next Door portrays disability with sensitivity and respect, never turning illness into a spectacle.”
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“As The Wild Robot explores community and motherhood, the film also touches on how someone with a disability fits within that.”
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“Joker: Folie à Deux has the same issues as its predecessor, proving that, like Arthur, the filmmakers haven’t grown or changed.”
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“Notice to Quit’s comfort level with characters of color comes into sharp focus in one particular scene.”
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“My Old Ass gives a welcome show of solidarity that doesn’t drive wedges between various LGBTQ identities.”
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“Every character of colour in Wolfs falls into some kind of trope, to differing degrees.”
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“The Last of the Sea Women highlights a unique community of Korean women divers, most of whom are in their 60s and older.”
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“Characters like Wanda in I’ll Be Right There—a mom and soon-to-be grandmother—are seldom shown in movies having a sex life.”
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“Twisters delivers on the age-old Hollywood promise: Impressive CGI and American flag-wearing heroes, but slips into some unforced errors on diversity.”
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“Nothing feels more female-centric than the wary, ever-watchful undercurrent that pervades Janet Planet.”
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“There’s nothing wrong with Tuesday’s main actor of color appearing as a bird rather than as a human, but it’s a creative decision that falls into a longer trend.”
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“Boy Kills World may seem like an inclusive feature, but underneath the admittedly fun carnage is a feeble attempt at genuine representation.”
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“As a Japanese American skater, I couldn’t have imagined back then that a movie like Dìdi would one day capture this exact vibe.”
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“Madame Web can’t shake the sense of a male gaze, egged on by its all-male writers.”
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“The Fall Guy easily avoids toxic tropes or obvious stereotypes.”
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“Monkey Man uses tropes about women, but its inclusion of marginalized hijras works brilliantly.”
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“Where Dune: Part Two fails isn’t in its portrayal of a White Savior—it’s how it underwrites the Fremen.”
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“The Zone of Interest takes the most unlikely of stands towards female autonomy and gender equity: Women can be just as callous, just as brutal, as men.
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