The Unrelenting Optimism of Taika Waititi’s ‘Boy’ (2010)

Nostalgic and warm, ‘Boy’ is a film that centres around youthful optimism and never wavers from the belief that life can be both hard and happy.

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‘Children of Men’ (2006) and the Birth of Hope

As we follow Kee and Theo’s journey, ‘Children of Men’ shows us what a little hope can do to a person’s whole outlook on life, and the extent that they will go to to keep that hope alive.

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The Ties that Bind Us: Hope and Family in ‘Little Miss Sunshine’ (2004)

“It takes the entire Hoover family pushing a bright yellow van, a few stops along the way, and a dead body in the back of the trunk for them to gain back what they lost.”

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The Nightmarish and Sublime Beauty of the Undiscovered in ‘Annihilation’ (2018) and ‘Interstellar’ (2014)

These two films elegantly unravel what it means to experience things as inconceivable as they are alluring, which continually pull at and dismantle human instinct.

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‘Melancholia’ (2011) and How I Learned to Stop Worrying and Love the Planet

How Lars Von Trier portrays mental illness as a superpower in Melancholia.

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[The Revolution Will Be Televised] ‘True History of the Kelly Gang’ (2019) and the Mythological Bedrock of Rebellion

True History illuminates the ways shared fiction gives form and mass to rebellion, and how cult mythology acts as the cornerstone to revolt.

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‘It’s a Sin’ (2021) Exploring Fear of the Unknown

It’s a Sin is not only a sincere exploration of the AIDS crisis in 1980s London, but also explores how we deal with fear.

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The Timelessness of Space and Intimacy in ‘Pride & Prejudice’ (2005)

2020 has been an extremely long and incredibly weird year, one defined by absence: of precedence, of bureaucratic competence, of any semblance of sanity or normalcy. It has also been—mind-numbingly, infuriatingly—a year defined by excess: of death, of time, of news, and, most notably, of distance. Quarantine, social distancing, masks, lockdowns—the language of separation and…

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