The Other Side of the Wind, which follows fictional veteran Hollywood director Jake Hannaford (tooootally not modeled after Welles himself) and his protegé (also tooootally not a surrogate for Welles' own friend and mentee Peter Bogdanovich, who also plays the character) as they attend a party in celebration of Hannaford's latest film and are beset on all sides by Hannaford's friends, enemies, and everyone in between. Netflixĭon't go into Orson Welles' final film expecting it to be an easy watch. The final shot, which features a moment of silence after over two hours of near constant chatter, is one you won't forget. Soon, they form their own unconventional family united by feelings of inadequacy and hope for the future. Eventually, the pair recruits 25-year-old college dropout Sadie (Kayli Carter), the step-daughter of Richard's brother, to serve as an egg donor. With all the details about injections, side effects, and pricey medical procedures, the movie functions as a taxonomy of modern pregnancy anxieties, and Hahn brings each part of the process to glorious life. When we meet them, they're already in the grips of fertility mania, willing to try almost anything to secure the offspring they think they desire. Richard (Paul Giamatti) and Rachel (Kathryn Hahn) are a Manhattan-dwelling couple who have spent the last few years attempting to have a baby with little success. Over a decade since the release of her last dark comedy, The Savages, writer and director Tamara Jenkins is back with a sprawling movie in the same vein: more hyper-verbal jerks you can't help but love. Like Shante's best rhymes, it's a tale told with dazzling craft and unwavering confidence. With humor and wit, Chanté Adams (as Roxanne) keeps you invested in every aspect of Shante's journey, from her early battles with her disapproving mother (Nia Long) to her harrowing fights with an abusive boyfriend Cross, played with tenderness and menace by Moonlight breakout Mahershala Ali. Roxanne Roxanne, a stylish chronicle of Queensbridge rapper Roxanne Shante's rise to fame in the 1980s, isn't the most formally adventurous take on hip-hop's early days - the "life on tour" scenes and a corny appearance from a soon-to-be-famous young rapper named Nasir feel like standard showbiz fodder - but director Michael Larnell has an eye for period detail, an ear for needle drops, and enough patience to let his performers shine on (and off) the mic. The traditional musician biopic, with its rags-to-riches beginning and its fall-from-grace conclusion, is a genre that's always in need of a remix.
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