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This swift puncturing of any protracted emotional dishonesty Lara Jean might have hoped to indulge in, well, forever, leaves the film’s final eighty minutes free for her to embrace some really radical emotional honesty. TATBILB fully inverts the 80/20 ratio: Within the first 20 minutes, all five of the deeply private love letters our daydreamy, emotionally buttoned-up protagonist Lara Jean (Lana Condor) has written to her childhood crushes over the years have been stolen and mailed out-including the one to her neighbor and best friend, Josh (Israel Broussard), who just happens to also be her older sister’s just barely ex-boyfriend. It is not excellent “for a teen flick.” It is not excellent “for a romantic comedy.” It is excellent for a film. To All the Boys I’ve Loved Before, the teen scene’s newest runaway hit, is a flat-out excellent film. Stars: Lana Condor, Noah Centineo, Janel Parrish It’s a statement, both for itself and for its creator, and it’s a convincing one. Though Atlantics feels elliptical in many ways, Diop has the bravery to end her film with a pretty resounding period. The film’s protagonist embraces that haunting as a form of hope she loses something important and fills the hole by expanding her own self with the self that was touched by others. It is yet another sad ghost story amongst many, but where it differs is finely drawing the distinction that sometimes the things that haunt the living most are not the things that were but the things that should have been. And the film is at its best when it avoids being programmatic, lets its visuals pulse before you. Love, the film posits, is a catalyst love helps reform identities in transgressive and transcendent ways.
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Congruously, it’s also about losing the identities that are culturally prescribed, that we may have been born with, nurtured and/or limited by. It’s about the mystery of identity and how one can find identity by taking on the identity of something other, or can find it when looking in a mirror-not for the physical self but for the spirit. Atlantics is about that and it’s about the breaking of that. That it might look and sound so alien to an American watching this film on Netflix is perhaps a sharp enough indictment of the ways in which we intellectually seclude ourselves from realities beyond our own. Through the gritty, blustery opening images shot as artful document of the Dakar shore (outstanding work by cinematographer Claire Mathon) and the hypnotic electronic score by Fatima Al Qadiri, Diop is able to evoke an incomparable mood and sense of place. She takes the magic realism of a peer like Alice Rohrwacher and carries it to the world’s margins, examining class struggle in a Senegalese city by the Atlantic. Stars: Mame Bineta Sane, Amadou Mbow, Nicole Sougou, Aminate KaneĪtlantics is quite the announcement for writer-drector Mati Diop. The DIY indie grainy black-and-white cinematography boosts the film’s in-your-face realism. What’s refreshing about the film is that Lee always brings up the possibility that “none of the above” is a perfectly viable answer for both Nola and for single women-a game changer in 1986. Stars: Tracy Camila Johns, Spike Lee, John Canada Terrell, Tommy Redmond HicksĪn explosively frank feature debut that immediately announced Lee’s brave, fresh new voice in American cinema, She’s Gotta Have It, shot like a documentary, is a levelheaded exploration of a young black woman named Nola (Tracy Camilla Johns) trying to decide between her three male lovers, while also flirting with her apparent bisexuality, in order to, first and foremost, figure out what makes her happy. Here are the 40 best romantic movies streaming on Netflix: We’ve dug through all 649 of the romantic movies on Netflix to find the best, including rom-com classics, tear-jerkers, Netflix originals, Bollywood romances, LGBTQ+ love stories and more. There are few things more hard-wired in all of us than the desire to find a soulmate, and few more common motivating principles in movies.