THE PLATFORM – Review by Alexandra Heller-Nicholas

Outside a time of crisis, The Platform is a brilliant film that defines the wholly unique ability of science fiction to allegorize the human condition. But in the face of a devastating pandemic which already has caused incomprehensible levels of social, financial and political chaos around the world, The Platform is suddenly so much more than this. A powerful parable about community, responsibility and survival, The Platform is exactly the film we need right now.

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LOST GIRLS – Review by Susan Wloszczyna

The heart of Lost Girls is the connection forged by the survivors – the sorrowful sisters and guilt-ridden mothers who bond over the similar fates of their daughters. Amy Ryan is the hard-bitten engine driving this charge against simply shrugging off the disappearance of women, prostitutes or not. But the most soulful performance is given by Thomasin McKenzie as a daughter who supports her crusading mom even though her own needs are pushed aside.

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LOST IN SPACE: Producers and Cast Chat Story, Character and Gender Balance – Leslie Combemale interviews

If you aren’t watching Netflix’s exciting, very engaging sci-fi series Lost in Space, you should be. Well-crafted, full of cliffhangers, and with characters that rise above the tiresome cliches viewers have come to expect in fantasies, Lost in Space is perfect for families looking for something they can watch and enjoy together. I’d argue this because their gender-balanced Writers’ Room continues to subvert gender norms and present characters and storylines in which women, girls, and indeed everyone, will see themselves.

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THE TWO POPES – Review by Diane Carson

Metaphors comment unobtrusively on a variety of current issues: building bridges not walls, income inequality, tyranny, modest vs. indulgent life styles. These important topics are punctuated with nice touches of humor and music. The Two Popes speaks to everyone who examines, as honestly as possible, the decisions of their lives, whether Muslim, Jewish, Hindu, Catholic, Protestant, agnostic, atheist, or anything else.

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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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MARRIAGE STORY – Review by Susan Granger

You know the feeling when you have a very painful scab on your knee and you keep picking at it? That’s what writer/director Noah Baumbach has created in this bitter, corrosive tale about the dissolution of a marriage. Beginning as ‘cinema verite,’ recalling the 1960s French film movement which featured natural actions and authentic dialogue, it inexplicably then morphs into near-farce and melodic metaphors.

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Noah Baumbach on MARRIAGE STORY, Perspectives and Writing Women – Jennifer Merin interviews

Noah Baumbach’s films are all about the tangles and untangling of relationships and, while they aren’t written entirely from a female perspective, they always present complex and compelling female characters with strong and well-defined objectives. From his own male perspective, Baumbach writes female characters with convincing authenticity.

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