“Against the backdrop of Brazil’s military dictatorship, I’m Still Here draws poignant parallels to contemporary struggles for justice.”
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“Twinless has terrific queer representation but leaves women little room to shine.”
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“Though Heightened Scrutiny lacks the polish of the filmmakers’ previous film, its urgency overrides that detraction.”
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“Third Act drifts out to sea, hinting at a wide range of topics without drilling down into any.”
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“Through a powerful friendship, Nickel Boys showcases two distinct approaches to combating oppression.”
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“Anora brilliantly demonstrates how gender and class 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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“Notice to Quit’s comfort level with characters of color comes into sharp focus in one particular scene.”
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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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“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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“Using an understated but powerful approach, Anatomy of a Fall opens up multiple discussion points regarding gender, sexuality, and disability.”
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“It’s a joy to watch The Marvels’ superwomen support and empower one another.”
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“Drive-Away Dolls is a great example of what beloved directors can do when they try out new types of characters and identities in their stories.”
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“In The Tiger’s Apprentice, no female characters have their own story arcs, or even dimensionality.”
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