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**A “gay friendly” film that manages to be minimally neutral to also please those who are out of political and ideological struggles.** The troubled causes have never been so popular as they are today: from abortion to euthanasia, from the historical question between colonizing and colonized countries to the return of looted artworks by European museums, passing through the causes of the Gay Movement, whose acronym grows every year, to embrace any new definition invented for each way of feeling and living sexuality, reflecting a need for affirmation that is felt more strongly than the convenience of presenting a certain union in the ranks. This “gay friendly” film fits perfectly into a growing list of cinema works dedicated to scrutinizing the dynamics of these new families. The advantage of this film is that it is not overly militant. The script introduces us to two mature women, who live in a stable lesbian relationship and who decided to get pregnant, by artificial insemination (obviously the more traditional method was discarded for obvious reasons), the semen donor was the same and the children who were born are, therefore, half-siblings on the part of the father (whom they do not know). It is precisely the search for her biological father and the creation of a closer relationship with him that takes the plot forward, with the introduction of this friendly and uncomplicated man totally destabilizing the life of that house. I liked the movie in general. At the same time that it tries to deny that idea, much replicated, that two lesbians would instill their own sexual orientation in their children, the film seeks to create a question around the inviolability of the anonymity of the donors of seminal material… I cannot speak for everyone, but I would never donate semen if I suspected that, years later, someone might have knocked on my door and said he was my son. Anonymity is something that should be inviolable and sacred here, regardless of the will of those involved. It was the point in the script that bothered me the most, but there were a few more. For me, the strongest point of the film ends up being the cast and its very good performance, strongly supported by a duo of veterans: Julianne Moore and Annette Bening. Both are amazing in their characters, and they establish an excellent working dynamic and good chemistry. Mia Wasilowska and Josh Hutcherson, both still quite young, are a nice and refreshing addition to the cast, both of whom seem to be really enjoying what they're doing. Besides, we all know them nowadays, because they are two young stars. Although it's not that interesting, I have to admit that I liked Mark Ruffalo's work. I think his character was poorly thought out, and poorly written, but the actor manages himself very well and knows how to get around the obstacles that appear. It's not a technically remarkable film, it's notable that it didn't have a superb budget, and that it was a job done thanks, in part, to the extreme dedication of everyone involved. It doesn't have amazing cinematography and editing, but what it's done works well and is effective. The film has a pleasant, light pace, and a humorous and uncomplicated atmosphere.
Young widow Madame Yanne takes care of her pretty nieces Florentine and Juliet, who are currently living out their lesbian obsessions and are currently more engaged with each other than turning their heads around the lusty male world.
Sixteen-year-old Lucia wants to get rid of two things more than anything: her lice & her virginity.
Australian teenager Heidi is left with little choice but to leave home after she's caught red-handed with her mother's boyfriend. With few options, Heidi ends up in Jindabyne, a tourist community. Upon meeting Joe at a bar, she pursues a relationship with him and tries to find something resembling a normal home life. Heidi makes small strides by getting a job and finding a place to stay, but her relationship with Joe must overcome more than its share of hurdles.
Kidz in da Hood is the gripping and warm story of Amina, who came to Sweden with her grandfather three years ago. Amina has not yet received her residency permit and when her grandfather dies everything seems to fall apart. She temporarily hides out with pierced and tattooed rocker Johan, who lives in a worn-down suburb. The wild girl Mirre lives on the same floor as Amina and together they begin fighting for Amina to stay in Sweden and live with Johan.
Madan Mohan Khullar, a lover of old Hindi films and music, has decided to start his life afresh. However, to begin a new day, one has to pass through a long night, and so must he.
Kwagga Robertse owns a farm shop in the fictional Southern African country of Nambabwe and usually cons foreign tourists by pretending to kill a lion, thus earning him the nickname 'Urumbo' (Lion Killer) from the country's natives. Kwagga is upset when the UN sends a platoon of incompetent soldiers with the United Nations Transition Assistance Group (U.N.T.A.G.), to monitor the peace process, and ensure free and fair elections after the Nambabwean War for Independence. The U.N.T.A.G's American leader, Major Bradick D. Mackay and his second-in-command, Captain Zapman are offered a diamond worth a lot of money in the U.S., and they must pay 200,000 USD to Duan Robertse, Kwagga's competitive brother trying to buy a farm left to them by their dead father.
A young woman who is determined to maintain her independence finds herself at odds with her family who wants her to tame her wild side and get married.
Ruby, an 83 year old trying to dodge a retirement home, rents a room to Rata, a solo mum with sidelines in music and benefit fraud. Rata's son is into arson and shoplifting, while Ruby's nephew is a hapless yuppie wannabe. Marginalised by the deregulated economy of the '80s and living on their wits, they may just find common cause despite themselves.
It's Ted the Bellhop's first night on the job...and the hotel's very unusual guests are about to place him in some outrageous predicaments. It seems that this evening's room service is serving up one unbelievable happening after another.
Dilan's involvement in the motorbike gang imperils his relationship with Milea, whose distant relative returns from Belgium.
In 2016, French writer and photographer Carole Achache took her own life. After Carole's death, her daughter Mona Achache, a film director, discovers thousands of photos, letters and recordings that Carole left behind, but these buried secrets make her disappearance even more of an enigma. Through the power of filmmaking and the beauty of incarnation with the help of actress Marion Cotillard, the director brings her mother back to life to retrace her journey and find out who she really was.