“In these times of upheaval, The Half Of It makes the perfect getaway car.”
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“Selah and the Spades makes no assumptions about sexuality.”
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“Hamtramck, USA neither whitewashes the Muslim experience nor demonizes it.”
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“Filial piety is alive and well in Asian American content.”
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“Atlantics depicts Islam with matter-of-factness: No explanation, no exoticization, nor hiding some of its uglier practices.”
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Parasite exudes cultural specificity, with deep cuts to Korean headlines and reality TV shows.
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“Hustlers hits a home run with its wider allegory to capitalism in America.”
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“Clemency ‘shows’ rather then ‘tells’ its inclusive tenets.”
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“Lose yourself in this nostalgic summer retrospective, and maybe learn a thing or two about the modern history of Taiwan.”
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“Luce upends the Exceptional Negro trope.”
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“Yellow Rose deftly parallels two seemingly opposing groups: the American cowboy and the undocumented immigrant.”
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“Late Night spins a great message about racial diversity, but stops short at embodying it.”
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“It’s a joy to see Tsai Chin, who is now 85 years old, play the lead of an action-oriented gangster comedy set in New York City’s Chinatown.”
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“Booksmart feels baked in sexual diversity.”
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“The Wilsons leap over stereotypes about dark-skinned Black characters and embody another aspect of their identities—their upwards mobility.”
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“The Weekend feels quietly radical with its rendering of Black characters in roles we normally see reserved for the white upper middle class.”
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“Captain Marvel centers a white protagonist but offers significantly more fleshed-out roles for Fury and Maria that rise above sidekick status.”
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“What Men Want never reaches for lazy stereotypes to garner its many laughs.”
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“Vai amplifies Pacifika filmmaking with its slate of 9 directors, all of them indigenous women.”
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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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