is assistant editor at RogerEbert.com. She reviews films for radio stations nationwide and at moviemom.com, thecredits.org, and medium.com. She is a member of AWFJ’s Team #MOTW.

  Female Film Critics 24/365  recent blog posts

RAFIKI – Review by Leslie Combemale

The word rafiki means “friend” in Swahili. Kenyan same-sex couples often have to refer to or introduce their partners as rafiki in public, and to many of their friends and family. One of the best qualities of this film is that the lead characters, while clearly drawn to each other, genuinely want to get to know each other, and to build their love on a foundation of friendship.

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BODY AT BRIGHTON ROCK – Review by Alexandra Heller-Nicholas

Coming to Body at Brighton Rock with an awareness of Benjamin’s background in horror makes it an even more intriguing watch, as it is not so much a ‘horror’ film as such but rather a thriller that employs the iconography, codes and conventions of horror to paint a compelling portrait of its desperate protagonist’s psychological terrain.

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NERVOUS TRANSLATION – Review by MaryAnn Johanson

Eight-year-old Yael (Jana Agoncillo) has long afternoons to fill when she is home alone after school, a daily reverie that writer-director Shireen Seno depicts with a delicately observed melancholy and a charming whimsy reminiscent of the films of Miranda July. An imaginative and self-contained child, Yael is often left to her own devices. The heart breaks for her…

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TATER TOT AND PATTON – Review by Loren King

Grief in all its messiness, especially as experienced by a middle aged man, is the heart of this sparse, moving indie from writer-director Andrew Kightlinger. We see scruffy Erwin in a bleary-eyed morning ritual. He’s a rancher in the middle of nowhere, which is someplace in South Dakota where the film was shot, living with nothing but a dog, a battered truck, canned beans and booze.

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Pamela B. Green on BE NATURAL and Alice Guy Blache’s Untold Story – Marilyn Ferdinand interviews

What would induce a woman with a successful entertainment and motion graphic design business to put it all on the back burner and become, in her words, “an official poor documentarian?” For Pamela B. Green, who produced titles and graphics for major motion pictures and the Academy Awards, it was a television show that included some information about a woman who would come to dominate her life for more than a decade—Alice Guy-Blaché.

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