Based on the autobiographical novel by Makoto Takayama, director and co-screenwriter Daishi Matsunaga’s “Egoist” (Strand) is one of the most original and moving gay movies of the year. Slightly reminiscent of Hong Khaou’s 2014 “Lilting” (starring out actor Ben Whishaw), in which a mother and her son’s lover bond following a calamity, “Egoist” finds the perfect balance between eroticism and emotion.
As a writer and director, Greta Gerwig (whose best work is done behind the camera) has a history of making movies with strong messages of female empowerment, including the Oscar-nominated features “Lady Bird” and “Little Women.”
‘Kokomo City’ at O Cinema
Miami native D. Smith makes her directorial debut with the award-winning documentary, “Kokomo City,” opening Aug. 4 at O Cinema South Beach in Miami Beach.
There’s so much wrong with “Theater Camp” (Searchlight), the co-directorial debut of actress and writer Molly Gordon and Nick Lieberman, it’s difficult to know where to begin. As a character in a much better movie once said, “Let's start at the very beginning/A very good place to start.”
South Florida is a hub of LGBTQ culture and now one of our own is debuting his first film in Fort Lauderdale.
The friends trip gone wrong – from “Deliverance” to “The Hangover” to “Girls Trip” – is a tried-and-true formula of which audiences can’t seem to get enough. This also means that copycats abound, which can be both good and bad.
It’s easy to see why the Duplass brothers (Mark and Jay) wanted to produce Megan Griffith’s “I’ll Show You Mine” (Gravitas Ventures).
In 21st century movies such as “Bridesmaids,” “Girls Trip,” “Rough Night,” and the forthcoming “Joy Ride,” women prove that they can be every bit as raunchy, if not raunchier, than their male counterparts.
You might not think the House of Lords of the late 1980s and the Florida Legislature of the early 2020s would have much in common, other than questionable oral hygiene, but you’d be mistaken.
A common complaint against director and screenwriter Andrea Pallaoro, is that his screenplays (including 2017’s “Hannah” starring Charlotte Rampling) feel incomplete, with a lack of essential dialogue, in a way that puts great pressure on his actors.
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