BABY RUBY – Review by Peg Aloi

The film’s knife-edge balance of horror and reality is effectively rendered by filmmaker Bess Wohl, boldly exposing the universal and primal fear that accompanies giving birth, and the general lack of support and understanding faced by new mothers. Jo’s eagerness to become a mother is abruptly undercut when she goes into labor and her experience of giving birth is portrayed as a painful, confusing, bloody fever dream. But Baby Ruby, when she arrives, is beautiful and perfect. Her ears stick out a little, she has an incredibly expressive face and lovely pale blue eyes. She also cries. A lot.

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PORTRAIT OF A LADY ON FIRE – Review by Loren King

Portrait of a Lady on Fire, winner of the best screenplay award at this year’s Cannes Film Festival, is an unforgettable love story that unspools at a slow burn until the final act, which blazes with an incandescence. The women don’t end up together — no surprise, given the times, and this outcome is made clear by the film’s opening scene. But through artistic images of one another — those they recorded, what they revealed — they keep alive a precious, private memory forever burned into their hearts and minds.

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