THE AERONAUTS – Review by Diane Carson

Some breathtaking events seem absolutely perfect for film, and that is certainly true for The Aeronauts. Set in 1862 England, the suspenseful, thrilling story goes with James Glaisher and Emilia Wren, adventurers determined to advance science and meteorology while also setting a new altitude record for a gas balloon, above 36,000 feet, with no auxiliary, pressurized breathing apparatus.

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MARRIAGE STORY – Review by Brandy McDonnell

It’s also one of those films that never lets you forget you’re watching a film, with a stagy quality that feels like you’ve been invited to see Driver, Scarlett Johansson, Laura Dern, Ray Liotta and Alan Alda one-up each other in an exclusive acting workshop with Baumbach providing slightly outlandish material liberally sourced from his own life.

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DARK WATERS – Review by Susan Granger

While the topic of whistleblowing is timely, this legal drama, inspired by true events, gets bogged down in dull procedural trivia. Back in 1998, Cincinnati corporate environmental defense attorney Robert Bilott was approached by a desperate West Virginia farmer, Wilbur Tennant who told him that toxic waste from DuPont was either causing disastrous birth defects and/or killing his cows.

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THE BODY REMEMBERS WHEN THE WORLD BROKE OPEN – Review by Loren King

This deliberately paced, remarkable first feature from Elle-Máijá Tailfeathers who co-directed and co-wrote the film with Kathleen Hepburn, centers on two indigenous young women, Áila (played by Tailfeathers) and Rosie (Violet Nelson) who meet by chance on the street and, by the end of their journey, may likely never meet again. But their story is raw and real and, if one sticks with it, rewarding.

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THE BODY REMEMBERS WHEN THE WORLD BROKE OPEN – Review by Sheila Roberts

Filmmakers Kathleen Hepburn and Elle-Maija Tailfeathers’s Canadian indie, The Body Remembers When the World Broke Open, is part of Ava DuVernay’s impressive ARRAY initiative, a grassroots distribution, arts and advocacy collective focused on independent films by people of color and women filmmakers globally. The unpretentious film set in Vancouver examines how class and racism impact two young indigenous women from vastly different social and ethnic backgrounds.

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