Now, what do Carrie, The Witches, West Side Story, Charlie and the Chocolate Factory, and the upcoming Firestarter all have in common? They are just a number of films that have been remade even though the original versions were both iconic and popular.

Ridley Scott’s House of Gucci premiered at the end of the last month in most theatres worldwide. Going into the cinema, I was beyond excited, and rightfully so: from the fast-paced official trailer and posters that seemed to pop up in front of every movie theatre, to the stellar cast that starred in it, including big names like Adam Driver, Al Pacino, and Jeremy Irons, the film appeared promising to say the least. To add to the intrigue, the film ...

The long-awaited Steven Spielberg’s West Side Story remake has finally premiered in theatres at the end of 2020, almost two years after principal photography for the film ended. The film follows the plot of the original West Side Story film, which, in turn, is loosely based on the classical Shakespeare’s tragedy Romeo and Juliet. It transfers the similar plot points of the famous star-crossed lovers’ tragedy in the context of the racial tensions and gang violence of 1960s New York ...

“They put themselves in danger, girls like that. If she’s not careful someone’s gonna take advantage”. This perfectly encapsulates the main criticism of Emerald Fennell’s Promising Young Woman (2020). The line taken from the opening scene of the film serves as a reminder of the kind of violence women are objected to on a daily basis and how patriarchal systems of power have continuously blamed women for it.

Let´s dive into Queer Korea Film Festival and the rough history of the LGBTQ+ community in South Korea. The history of the LGBTQ+ community in South Korea is complex. While in some countries, over the last years, important rights for this community have been conquered, in South Korea, the fight for visibility is still a big problem. It is not ironic given the amount of hate that k-pop masculine groups have been targeted for their aesthetic, which is very distant ...

In Edgar Wright’s ‘Last Night in Soho’ we are transported back in time to the 1960s, an era the wide-eyed protagonist ‘Eloise’ – played by fittingly ingenuous Thomasin McKenzie – was already obsessed with even before she found herself in the middle of the swinging London. The film stirs the mythicised 60s and the delusional freedom imposed in films and media of the time in a pot of Giallo-esque horror, woeful sentimentality and the dazzle of the nightlife. 

With its arrival on Netflix, it certainly seems fitting to review what has been one of my favourite films from last year: Little Women by Greta Gerwig