Grieving the loss of his wife Oto (Reika Kirishima), with whom he shared a complicated yet loving relationship marred by a shocking secret, Yūsuke forms a bond with Misaki (Tōko Miura), his reserved driver, and Kōji (Masaki Okada), a brash young actor who knew Oto earlier in his life. Conversations with friends, family, and those that worked with Simone professionally round out the documentary, each contributor adding a new layer of Nina, a complicated but enduring individual with a calling that never ceased, and a talent like no other.Cast: Hidetoshi Nishijima, Tōko Miura, Reika Kirishimaĭrive My Car does several things miraculously well, among them transforming a 179-minute run time into an experience that feels like no time at all, weaving together a multi-layered drama about grief, love, art, hope, and the confounding complexities of human intimacy powered by a moving lead performance.īased on Haruki Murakami’s short story of the same name, Drive My Car tells the story of Yūsuke (Hidetoshi Nishijima), a renowned stage actor and director who accepts a residency in Hiroshima to direct a multilingual production of Anton Chekhov’s Uncle Vanya. Liz Garbus’ film is an introspective journey into the always-racing mind of an artistic genius, and a black woman who desperately wanted black voices to be heard and understood the world over. Plagued by racism from an early age, Simone’s rise to stardom served as a platform for the activism that would define much of her career. What Happened, Miss Simone? explores the life of prolific singer-songwriter and pianist, Nina Simone, through recollections composed of archived interviews, photographs, commentaries, musical performances, and journal entries. Mudbound is illuminating in more ways than one, an epic racial drama led by a master class of actors that all own their roles. But under the flora is loud and vibrant cinematography that enhances our connection with both families, one white and one black. Rees and Morrison were after a kind of camera work that reflected the feeling of the American Dream, and so we get beauty in shades. What’s to truly savor in Rees’ masterful period drama is Morrison’s language of framing. They return home, Jamie with newfound trauma, and Ronsel to a country that looks down at him for the color of his skin, regardless of his valor. These are Jamie McAllan (Garrett Hedlund) and Ronsel Jackson (Jason Mitchell), two boys who leave a world of racism and other struggles behind. A respective son from each family goes off to war. The expertly lensed Mudbound - written and directed by Dee Rees and photographed by Rachel Morrison - explores the personal, economic, and racial tensions of two rural families living by way of the land in World War II-era Mississippi. What is also apparent is that there is still hope for fundamental change, a message echoed by the film’s ensemble of progressively minded confiders, figures both left- and right-leaning. The film can be difficult to watch, but DuVernay’s grim realizations are made to be blatant. Over the course of the film, DuVernay and many activists, lawmakers, and academics unfold decade after decade of politically motivated legislation, and the lobbyists often behind these laws, that have led not only to the privatization of the American prison system but also to the staggeringly disproportionate incarceration of millions of African American men and women. But you don’t.” Ava DuVernay’s eye-opening, at times harrowing, 13th is a pivotal documentary that explores the centuries-old criminalization of disenfranchised African American communities, but by way of tracing the steps of American racism to its very roots. “If you’re in the prison business, you don’t want reform.
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