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REVIEW: ‘Nope’ reminds us that extraterrestrials are still sci-fi gold. Multiverse, who?

(07/22/22 1:26pm)

“Nope” isn’t just dope; it’s the best sci-fi summer blockbuster in recent memory. Writer/director Jordan Peele completes his trifecta of vaguely titled films with a certified, sci-fi banger that proves he’s not afraid to innovate. Peele not only ups the scale and spectacle of his previous films but also roots into a signature style that defines him as the most versatile and exciting American filmmaker in cinema today. 

REVIEW: ‘Compartment No. 6’ plays with chance and human connection to charming effect

(02/17/22 4:49pm)

At first glance, “Compartment No. 6” may feel strangely similar to another critically acclaimed international feature, both derived from literature and set in confined spaces. But director Juho Kuosmanen’s adaptation of Rosa Liksom’s novel stands out by being a testament to how love can thrive through proximity and desperate human connection.

Native Cinema Showcase: Three standout short films that empower Indigenous storytelling

(11/26/21 5:24pm)

Hosted by the Smithsonian National Museum of the American Indian, the Native Cinema Showcase screened a multitude of short films and features from Nov. 12 to Nov. 18. For the second year in a row, the festival was held fully virtually because of the coronavirus pandemic, which allowed for a global audience to view these highlighted Indigenous stories. 

REVIEW: ‘A Tale of Three Chinatowns’ explores Chinese American identity through their community experiences

(08/03/21 3:10pm)

For those who make their way to D.C.’s Chinatown for the first time, they may find it jarring to see McDonald’s, Chipotle and Walgreens occupying the streets. What’s more, each shop in Chinatown shares a blatantly appropriated chinoiserie aesthetic — which would be fine if the shop was a local Chinese grocer and not a CAVA. 

REVIEW: DCAPA Film Festival: Explore AAPI stories through these eye-opening short films

(07/29/21 2:54pm)

From July 15 to July 25, the 21st DC Asian Pacific American Film Festival virtually screened over 50 short and feature films, ranging from animation, comedy and drama. The festival’s mission was to uplift and cherish AAPI voices and stories while supporting and celebrating the artists behind them. 

Celebrate the end of AAPI Heritage Month with these must-watch films and TV shows

(05/31/21 2:05pm)

May is AAPI Heritage Month, a celebration of the contributions and achievements of Asian Americans and Pacific Islanders to American society, culture and history. The AAPI community represents the blend of multiple cultures, allowing for new and unique perspectives in art — and in this case — film and TV. Here are five must-watch films and TV shows that explore the AAPI experience and highlight AAPI artists in style. 

“Limbo” tells a refugee story with incredible visuals and hilariously bone-dry humor

(04/23/21 7:03pm)

Like its title suggests, “Limbo” leaps into the neverending uncertainty of refugees who await their asylum requests after leaving their homes. With such a serious subject matter, director Ben Sharrock delivers a film that not only pays respect to the hardship of refugees, but inserts comedy in subtle yet powerful ways. 

The 29th DC Environmental Film Festival is completely online this year: here are six films you can watch through the festival without leaving your home

(03/20/21 4:54pm)

Like most other major events and gatherings during the coronavirus pandemic, the 29th annual D.C. Environmental Film Festival will take place completely online. 

‘Bliss’ promises profound discussion of reality, but fails to push established conventions

(02/04/21 7:22pm)

Science fiction movies have the ability to distort a viewer’s sense of time, space and reality. We know and love the successful examples like “Interstellar,” “Blade Runner” and “Arrival.” Director and writer, Mike Cahill, unsuccessfully attempts to reach these cinematic heights with “Bliss,” a utopian love story satirically set in the present. The blend of sci-fi, romance and drama only adds to the unclear identity of what Cahill is trying to say. While there are certainly complex messages paired with strong visual effects, the film doesn’t communicate those messages with enough power and emotion.