A WOMAN’S WORK (2026)

July 17, 2026

Waco Independent Film Festival 2026

Greetings again from the darkness. It’s such a treat when a film sneaks up and surprises you with such emotional depth that you not only feel like you know the characters, but you also want to stick around and see how they do over the next few years. The first feature film from writer-director A.R. Ephraim does just that, leaving me so touched by what I’d just watched, yet saddened that my connection with Jolene was over.

Louisa Harland (HAMNET, 2025) delivers a quietly powerful performance as Jolene, a young woman working in the coal mines of Harlan County, Kentucky. She has been supporting her two sisters since their parents passed away. Sixteen-year-old Lara (Emma Duchesneau) is in love with local boy Judd (Braden Bell), who is not the sharpest tool in the drawer. Six-year-old Emmy (newcomer Shelby Mullins) is sweet and smart, and benefitting from Jolene’s life lessons on cooking, fishing, and shooting.

When Lara tells Lou that she’s getting married to Judd, the reaction is just what you would expect from a protective sister who sees the bigger picture. Lou works the nightshift at the mines. She packs a lunch for 2-3 days, “just in case”, and comes home daily to wash the ground-in coal dust off her body. Unfortunately, the weight of her life does not rinse off so easily. Miners’ attitude towards working women isn’t much better than the small town attitude towards a gay woman raising kids. Lou’s relationship with Kylie (Alice Kremelberg, “The Boroughs”) is the worst kept secret in town, yet the two women seem good for each other.

The film opens with a gentle overview via drone of the beaten down mining town, and later Lou states, “all these buildings used to be something.” Lou is tough, but she’s also an incredibly giving and caring person. She’s the kind of friend or sister you want … she’ll even stick up for a loved one in a bar fight. When Kylie decides she’s ‘gotta get outta here’ (the way small town often folks do), Lou has a decision to make. What we witness is the difference between sacrifice and responsibilities. That difference is love … and proof that family is borne from the heart. A.R. Ephraim has created a film that will stick with me for a while.

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Posted by David Ferguson

THE ODYSSEY (2026)

July 16, 2026

Greetings again from the darkness. What makes a movie “epic”? Most cinephiles would agree the list of epic movies includes LAWRENCE OF ARABIA (1962), GONE WITH THE WIND (1939), BEN-HUR (1959), and APOCALYPSE NOW (1979). Of course, arguments can be made for many other films, and it really comes down to how you define ‘epic’ and how you perceive a specific film. Regardless of your definition or perception, there is no doubt that this latest from Oscar winning filmmaker Christopher Nolan is an epic film and an epic movie-watching experience. Yes, it’s the first film to be filmed entirely with IMAX 70mm cameras, and it’s based on the Homer’s “Odyssey”, itself a piece of epic Greek literature … but it also is a piece of filmmaking unlike anything we’ve previously seen.

Oscar winner Matt Damon stars as Odysseus, and the story is centered on his ten-year journey home after the Trojan War. This includes a breathtaking Trojan Horse sequence, told with a twist from tradition. My favorite sequence (and that’s really saying something) involves the Cyclops and his flock of sheep inside the Master Cave in Greece. It’s truly staggering film work that would itself win every technical Oscar in most years. However, Nolan offers us so much more here – action-packed battle scenes, torturous boat journeys at sea, other creatures that must be seen (Scylla who snatches men from the deck of a ship), and the unheard (by us) song of the Sirens known to seize men. Another terrific sequence involves a fabulous Samantha Morton as Circe the witch, who has a special way of treating strangers.

Oscar winner Anne Hathaway plays Queen Penelope, wife to Odysseus and mother to their son Telemachus, played by (Spider-Man) Tom Holland. The two have a twenty year wait to see if Odysseus lives and if he will return to them in Ithaca. Penelope is left to manage the power struggles for her hand in marriage and for the kingdom, with a key figure being the slimy Antinous (Robert Pattinson). Oscar winner Lupita Nyong’o plays the stunning Helen of Troy, as well as her twin sister in a dual role, and it’s Zendaya who shows up periodically for Odysseus as the goddess Athena. In a substantial role, we find Oscar winner Charlize Theron as Calypso, spending years on her island with the wayward and lost Odysseus. Nolan’s cast is massive and talented and includes John Leguizano in a key role, as well as Jon Bernthal as Menelaus, Elliot Page as Sinon, and Himesh Patel as Eurylochus … plus many others you’ll recognize.

Nolan reteams with Oscar winning cinematographer Hoyte Van Hoytema to provide a truly amazing visual experience, filming in at least six countries to help us visualize Antiquity and Odysseus’ journey across the Mediterranean Sea: Morocco, Greece, Italy, Iceland, Scotland, and Malta. Three-time Oscar winner Ludwig Goransson delivers a unique and powerful score, with a blend of electronics and even some jazz. Nolan has credited Emily Wilson’s 2017 translation of Homer’s “Odyssey” for the modern language take, and though “Zeus’s Law” is referenced a few times, it can easily be described as human decency. The modern-day messages shine through – false gods, lust for power, and treating others poorly are mistakes humans have made over and over … and these messages couldn’t be more relevant than right now. The film reportedly had a $250 million budget, and as amazing as the film is, there will surely be those who complain that it moves too slowly or the film is too dark. I would only say that watching the film is like having a book unfold in front of you. I would certainly recommend if you are planning to see the film, head to an IMAX theater or at least the biggest screen nearby.

Opens in theaters on July 17, 2026

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Posted by David Ferguson

THE LEGEND OF JUAN JOSE MUNDO (2026)

July 16, 2026

Waco Independent Film Festival 2026

Greetings again from the darkness. For those who are itching to re-live the glory days of 1984 high school, writer-director Michael Walker and co-writer Susan Gomes are here for you. The surprising part is that even for non-Gen X viewers, the film is so well crafted and acted, that it flows beautifully as a time capsule for the era. As if that’s not enough, it’s also based on a true story.

Relative newcomer Anna Mirodin shines as Julie, a Jewish high school junior in suburban New York (White Plains). She’s a good student … trusted by her teachers, and a good girl … who admits she’s “never done anything with a boy.”  Her best friend, Suzanne (Hannah Kepple, “Cobra Kai”, and a Dyan Cannon lookalike) is a bit more adventurous and tries to coax her friend into being more assertive in pursuing her desires. The perfect opportunity arises for Anna when Juan Jose Mundo, arrives from Spain as the exchange student assigned to stay at her house during his trip.

Juan Jose Mundo (Alexandro Byrd in his first feature film) is a charming, handsome, gregarious young man with proper manners around parents and the charisma to attract high school students of both genders. It’s quite entertaining to watch Juan quickly embed himself into the basement parties and other activities of Julie’s classmates – all while her reserved nature prevents her from sharing her feelings with him. Along the way, we are treated to the ‘treasures’ of 1984, including the family station wagon, the tied-to-the-era fashion choices, the music (much of which now seems comical), the blatant racism, and the politics that generated a Mondale/Ferraro bumper sticker on said station wagon. Especially prevalent is the presence of mix tapes as a flirtation strategy. Despite ringing true to the period, much of what’s included acts as a painful reminder of 1984.

Admittedly, teen comedies aren’t my usual cup of tea, yet Walker and Gomes fill a void that’s existed since the days of John Hughes … this is a smart movie about teenagers, and it even serves up a life lesson, if you can find a teen to listen. On the surface, it doesn’t seem to be a story about the danger of those years, but in fact, it’s a cautionary tale about teen desire, confusion, frustration, and peer pressure. We even have awkward parents and an obnoxious sibling on display. Kudos to the cast and filmmakers for refusing to dumb down the material for their audience.

WATCH THE TRAILER

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Posted by David Ferguson

HORSEGIRLS (2026)

July 16, 2026

Greetings again from the darkness. I usually try to avoid using the word ‘endearing’ to describe a film that strikes an emotional chord, but for this film from writer-director Lauren Meyering and co-writer Mackenzie Breeden, the word fits perfectly. Much of the reason for this is the screen presence of Lillian Carrier, who was diagnosed with autism at age 16. Here she portrays twenty-two-year-old Margarita in a way that allows us to understand her real life challenges.

Margarita openly confesses the backstory of her name to most everyone she meets. It’s a clue to how direct and honest she can be, while also showing her difficulty in recognizing social cues and adhering to social norms. She lives with her mother Sandy (Gretchen Mol), who is undergoing chemotherapy for breast cancer. Sandy and Margarita have a deep bond, but mother is trying hard (for good reason) to push Margarita towards independence. This leads to arguments, and to Margarita securing a job at the local Halloween store run by Hank (Igbal Theba).

It’s joining a troupe of young hobby-horse dancers (yeah, I had no idea this was a thing) that leads Margarita even closer to independence. The team’s coach is played by (an excellent) Jerod Harris, and his ‘tough love’ approach is something Margarita responds to. “Walk it off, Red”, is one of his regular sayings as she initially stumbles through the routine or faces harsh treatment from the snooty girls on the team. We all know that ‘adulting’ is not easy. The trip is filled with obstacles. It’s even more challenging for those on the spectrum, yet we find a certain satisfaction in watching Margarita grow and develop.

I’ve been a fan of Gretchen Mol since the 1990’s and have often said I wish she would act more often … at least in the projects I see. Here, she’s a strong mother and vulnerable woman and really delivers as Margarita’s mother. As Margarita, Lillian Carrier is quite something to behold. She is smart and emotional and relatable … and someone we enjoy rooting for. Some may call this a ‘coming-of-age’ story, and perhaps it is. Mostly, it’s the journey of life that we all travel – only some roads are a bit bumpier than others. Look for a nice cameo towards the end.

The film opens in theaters on July 17, 2026

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Posted by David Ferguson

BABY DOE (2026, doc)

July 16, 2026

Greetings again from the d arkness. While I certainly value the importance of fiction and creativity, I choose to watch so many documentaries because I’m also a fan of real life and the truth. However, the truth is often anything but uplifting and such is the case with this film from Jessica Earnshaw as she tells the story of Gail Ritchey and the “Geauga’s Child” case.

DNA evidence links Gail to a horrific unsolved case thirty years prior, in 1993. A dead newborn baby was found roadside in rural Ohio.  Gail is a mother, a wife, and a grandmother. While being interrogated, she says she did not know she was pregnant and claims the stillborn baby dropped in the toilet, catching her by surprise. It was her religious community, and the fear of repercussions, that led her to bag and dispose of the baby … keeping the secret all these years. Most crime documentaries would focus on the case and setting Gail up for life in prison; however, Earnshaw’s approach is much more complex.

All parties involved are provided with the opportunity for input. This includes her husband Mark, their daughter Courtney, her neighbors, fellow church goers, law enforcement, medical providers, and the psychologist who explains the phenomenon of ‘pregnancy denial.’ Hearing from family, church, and community delivers a much different perspective for viewers than a simple courtroom drama answering whether she do it or not.

We see Gail in many different situations, and some may even find her sympathetic at times. The film digs into the power flex of religion, especially on youngsters when it comes to pre-marital sex. Gail’s mental state at the time seems fairly clear as she and Mark secretly skirted church rules, and a later disclosure from Gail almost assuredly removes whatever sympathy one might have held for her. The key with this film is in our perception and understanding of Gail at the time … and that makes it much more thought-provoking than initially thought.

Available in select theaters July 10-16, 2026, at DCTV (New York City), July 14 at Laemmle Glendale (Los Angeles), July 15 at Laemmle Noho (Los Angeles), and July 19th at The Roxy (San Francisco)

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Posted by David Ferguson

Book Review- BLOW BY BLOW: THE JEFF BECK STORY

July 13, 2026

written by Brad Tolinski & Chris Gill

When we think of a Rock ‘n Roll legend, we usually envision arenas packed with screaming fans and a decadent lifestyle filled with groupies, endless parties, and mansions. We don’t tend to think of a tortured artist toiling for decades in search of perfection and capturing the music they hear in their head. As authors Brad Tolinski and Chris Gill detail in this book, the toiling perfectionist label fits guitar legend Jeff Beck much better than decadent party animal. And perhaps no writers are better positioned to write about Beck than the two long-time music journalists from “Guitar World” magazine.

It’s not surprising when a list of greatest guitarists is published without Jeff Beck’s name. Always listed are Eric Clapton, Jimmy Page, Stevie Ray Vaughan, Jimi Hendrix, and Eddie Van Halen (about whom the two authors wrote, “Eruption: Conversations with Eddie Van Halen”). However, the writers at Rolling Stone magazine placed Beck fifth on their 2023 list, and, as foolish as it seems to try to rank great guitarists, any list omitting Beck cannot be considered legitimate. Although his long-time girlfriend, British model Celia Hammond and his wife (at the time of his death) Sandra Cash are mentioned in the book, the focus is on Jeff Beck’s never-ending search for music perfection (as if it exists), rather than any semblance of his personal life not involving music or cars.

The book does an extraordinary job of taking us on Beck’s non-linear musical journey. It’s impossible to place one label on his music or style, yet all of the following apply: rock, jazz, jazz fusion, R&B, blues, instrumental, and progressive. The authors recount Beck’s early influences, while understanding that the most effective approach is allowing Beck’s story to speak for itself. Was he a key piece of rock supergroup The Yardbirds? Well, yes, he was … and they fired him. Did he seem to prefer instrumental music? Well, yes, he did … yet he also recorded with legendary vocalist Rod Stewart, as well as many others. Has anyone ever opted NOT to join the Rolling Stones? Well, yes, Jeff Beck decided it wasn’t for him.

A (usually friendly) rivalry with Eric Clapton is understandable, as are friendships with Jimmy Page and Ronnie Wood. As the chapters passed in the book, I couldn’t help but wonder if the authors put together a flow chart of fellow musicians Beck played with, toured with, or recorded with. It’s a veritable ‘who’s who’ of music beginning in the 1960’s. We learn an early spark occurred for Beck while watching Little Richard in THE GIRL CAN’T HELP It (1956) and listening to Gene Vincent play guitar. Still, his constant drive for the sound he wanted was an internal trait that didn’t always sit well with band members and music producers, much less the labels that pushed him for mainstream/accessible songs.

Attempts to reconcile, or make sense, of Jeff Beck’s life and career are fruitless. It’s best to let the music speak … or the words on this book’s page. Beck is a man who jammed on stage with rock royalty, traded pranks with Les Paul, played with Jagger at the White House, and had a complicated history with the great Stevie Wonder over the classic song, “Superstition”. The book goes into detail on that messy situation, while ending with the confirmation that Johnny Depp was one of only two humans graveside at Beck’s burial. The two men had become close friends and recorded an album together … Beck’s last.

Authors Tolinski and Gill worked diligently to help us understand what drove Jeff Beck, and how he often created his own obstacles to success by sticking to his methods. Beck had successful solo albums (“Blow by Blow”, “Wired”), won multiple Grammy Awards, and was inducted in the Rock and Roll Hall of Fame (with The Yardbirds, and as a solo act), yet his mainstream popularity never reached the level of his talent. Should you doubt his place as a music legend, simply take time to read the tributes paid to him upon his death by the long list of music legends you likely have on your playlist. Better yet, just take the time to read this book and appreciate the commitment Jeff Beck maintained for his art.

The book is available on AMAZON beginning July 14, 2026

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Posted by David Ferguson

GAIL DAUGHTRY AND THE CELEBRITY SEX PASS (2026)

July 9, 2026

Greetings again from the darkness. As a huge fan of THE WIZARD OF OZ (1939), I admire the homage paid to the classic film by writer-director David Wain (WET HOT AMERICAN SUMMER, 2001) and his co-writer Ken Marino, collaborators on ROLE MODELS (2008) and WANDERLUST (2012). In fact, there are long-term shared comedic genes noted throughout the list of cast, crew, and filmmakers here … with quite a few running through the “Reno 911!” franchise. If that’s not hint enough, I’ll repeat what I’ve written many times over the years: comedy tastes are quite diverse, and some will laugh heartily at this one, while others will be baffled as to what is so funny.

Zoey Deutch, fresh off her fine work in last year’s NOUVELLE VAGUE and ANNIVERSARY, plays the titular Gail from Kansas (the first Oz reference), a perky hairdresser engaged to her high school sweetheart Tom (Michael Cassidy). Fred Melamed is the local postal worker/narrator who promises a crazy community story – one which takes very little time getting underway. Casual conversation ends with Tom explaining to naïve Gail what a Celebrity Pass is, and the couple heads to a cookbook reading by Jennifer Anniston, who just happens to be Tom’s recently mentioned celeb of choice. You can guess what happens next.

Stunned by the events, Gail heads to Los Angeles with her best friend and fellow hairstylist Otto (not Toto), played by Miles Gutierrez-Riley. The two hope to meet their favorite hairstylist Remy Fontaine (Thomas Lennon) at the national conference and of course, Gail hopes to even the score with Tom by tracking down her own CSP, Jon Hamm. The trip kicks off a ‘spot the celebrity cameo’ for viewers, beginning with Henry Winkler at LAX. This photo op leads to Gail’s suitcase being mistakenly swapped with another – unknowingly putting the mob (led by Sabrina Impacciatore of “White Lotus” fame) on her trail. If it seems a bit preposterous, just know that much of the comedy is purposefully of this ilk.

In addition to a psychic reading and a stop at the infamous Chateau Marmont, there is a celebrity map vendor played by Michael Ian Black, and other sightings, including Kerri Kenney, Richard Kind, Weird Al Yankovic, Penn Jillette, Elizabeth Banks, Elizabeth Perkins, and Paul Rudd. However, it’s kindred spirits in John Slattery (a nice “Mad Man” touch), CAA agent-in-training Caleb (Ben Wang), and a paparazzo (co-writer Ken Marino) who views Jon Hamm as his photographic white whale, who travel with Gail in search of her conquest.

For some, the various vignettes will provide the humor they desire, and even for those who comedic itches are not scratched, the zany madcap tribute to THE WIZARD OF OZ may be creative enough to keep you engaged.

WATCH THE TRAILER

After a festival run at Sundance and Tribeca, the film opens in theaters on July 10, 2026
 

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Posted by David Ferguson

READING LOLITA IN TEHRAN (2026)

July 9, 2026

Greetings again from the darkness. Other than basic decency and human connection, there are few things that define a person and their life more than education. Whether gained in a classroom or through daily experiences, understanding people and history is what provides our perspective and our foundation of humanity. A common strategy of small-minded authoritarians who seek only more power is to limit educational opportunities for others … as if holding one group down will lift up said power-monger. This is on full display in this film based on the experiences Azar Nafisi detailed in her 2003 memoir. The film is directed by Eran Riklis (LEMON TREE, 2008), who co-wrote the screenplay with Marjorie David.

Golshifteh Farahani (PATERSON, 2016, EXTRACTION, 2020) stars as Azar Nafisi, a literature professor at Tehran University, whom we first meet just after the 1979 Islamic Revolution. In very little time, we learn Azar is a passionate and dedicated teacher, while also being a fierce defender of personal rights – to teach and to learn. Director Riklis divides the film into four chapters, each using the name of a classic literature piece. F. Scott Fitzgerald’s 1925 “The Great Gatsby” is where we begin, and the professor structures a classroom courthouse, putting the novel on trial … on the heels of Ayatollah Khomeini instilling hijab laws as a way to hold women back and stifle feelings.

Part 2 jumps ahead 15 years to 1995 in the section named “Lolita” for Nabokov’s 1955 novel. At this point, most every move is a risk for Azar, and she finds herself wistfully daydreaming of the days when she could browse the many titles at Hamida’s independent bookstore, which no longer exists. Moving forward to 1988, it’s Henry Miller’s 1878 novella “Daisy Miller”, as well as the peak of the Iran-Iraq border war. In this section, Azar looks over her students and concludes, “They have nothing to remember.” It’s the most poignant line of the film and perfectly captures the importance of a cultured and open society. The final chapter takes place in 1996 and takes its title from Jane Austen’s 1813 novel, “Pride and Prejudice”. This also coincides to Azar’s final year in Iran, before she moved to the U.S. Azar is quite fortunate to have married Bijan (Arash Marandi), an engineer who was so patient and understanding.

Azar became a U.S. citizen in 2008 (as a young woman, she earned her Ph.D. from the University of Oklahoma) and has carried forth as an esteemed academic professional since. Perhaps her most rewarding and risky days were the regular sessions she held at her house in Iran, inviting women to learn and discuss the literature that had been forbidden by the regime. Filmed in Italy (not Iran), Azar Nafisi’s story is one of courage and determination, and it reminds us of the societal importance of equality, free speech, and open learning. In contrast, Azar, the filmmakers, and lead actors are forbidden from returning to Iran.

Opens July 10, 2026 in New York and July 17 in Los Angeles and Nationwide

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2 Comments | Drama, World Cinema/Foreign | Tagged: , , , , | Permalink
Posted by David Ferguson

Book Review: A SUDDEN FLICKER OF LIGHT: A REVISIONIST HISTORY OF MOVIES

July 6, 2026

Book by David Thomson

If you are looking for a timeline of movie history compiled by one of the foremost film historians, and if you find text sprinkled with harsh opinions from a pompous expert to be an added benefit, then David Thomson has written the book for you. The British-born octogenarian has contributed thoughtful film criticism to most every major publication, and this is his 45th published book – some biographies, some based on television, most on cinema, and all with ties to the industry that supplies moving pictures for entertainment. This latest book covers the entire history from Eadward Muybridge’s galloping horses in 1887 to the Best Picture win for Sean Baker’s ANORA at the 2025 Oscars.

Mr. Thomson has never been one to sugarcoat his opinions, and the years have not softened his approach in the least. It’s important to note that this book serves as an overview of an industry that’s well over one hundred years old. Rather than drop a brief synopsis on thousands of movies released, he instead opts to pick the highlights and then dig a bit deeper on those topics, films, and contributors. Never do we doubt Mr. Thomson’s knowledge, nor are we left wondering where he stands on a particular movie, actor, writer, director, producer, or studio head. His clarity can be blinding and abrasive, while also being informative and thought-provoking.

True cinephiles will find value in the historical commentary. Thomson takes us back to the days of the Lumiere brothers and Georges Melies, and through the “new” waves – the studio systems of Selznick, Mayer and Thalberg; ‘talkies’; followed by the French directors Truffaut, Godard, and Rohmer; and then the 1970’s brats of Coppola, Lucas, Scorsese, and Spielberg. What Thomson spells out are the eras involved as cinema reinvents itself. Of course, technological advances played a role in filmmaking changes, and so did societal and cultural differences. Pre-Code, the Production Code, and the morality shifts post-code have all influenced who makes movies and what we see on screen.

Mr. Thomson has a recurring comparison throughout of movies versus books – watching versus reading. The difference between plopping down in your favorite chair and quietly escaping through the page-turning is one thing, and yet, the darkness of a spacious theater and the illumination of the silver screen is yet another escape that brings pleasure. It’s not surprising that Thomson is no fan of watching movies on personal devices, or even screening movies at home. Nothing replaces the communal experience of a packed theater for opening night of the latest release. Perhaps this is just the latest shift in movie watching, and we will learn to accept, regardless of how much nostalgia is lost.

At times, reading Thomson’s latest is a bit of a downer as he dwells on a particular film or topic of which he’s no fan. However, as soon as we begin to label him a “hater”, he will eloquently describe his admiration of a particular film or filmmaker. His respect for THE GODFATHER and CHINATOWN is as clear as his understanding of the vital advances from those early days as the industry was building and developing. Segments on DW Griffith, Thomas Dixon, Erich Stroheim, Francois Truffaut, Frank Capra, Hitler/Riefenstahl, CASABLANCA, CITIZEN KANE. Alfred Hitchcock (especially PSYCHO), OUT OF THE PAST, SUNSET BOULEVARD, BONNIE AND CLYDE, the 1970’s are among the most interesting. Personally, I embraced the connection of Norman Bates to Hannibal Lecter, as those are two characters (and movies) I’ve watched numerous times. Many other films, directors, and actors are referenced, though the value is in the highlights throughout the timeline of movies.

In this book, David Thomson does what we’ve come to expect David Thomson to do. We even depend on it.  He will shoot straight with us about his opinions, no matter how strongly many movie-goers may disagree. Pointed zingers are common in the book and often aimed at specific filmmakers and their final products. Thomson even shares his thoughts on Donald Trump a couple of times. David Thomson has devoted many decades of his life to an industry that he’s not hesitant to criticize. Disagreeing with Thomson on a movie, or debating him on the merits of a scene, are what keeps his work relevant after all of these years. He doesn’t seem to mind at all if we believe he’s wrong about something … just be prepared to defend your stance. A book that recounts history, provides insight from an expert, and encourages thought from the reader, is one that isn’t for everyone, but you know if it’s for you.

Published by Simon & Schuster, the book is available on AMAZON beginning July 7, 2026

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Posted by David Ferguson

COUTURE (2026)

June 26, 2026

Greetings again from the darkness. “The best laid plans of mice and men often go awry.” It’s a famous adage that easily could continue with ‘through no fault of their own’ … and as it pertains to writer-director Alice Winocour’s (MUSTANG, 2015) latest film, the adage applies specifically the women. For a film based on Fashion Week in Paris, we get a rare glimpse inside the Chanel showroom. More importantly we get a feel for the stress and pressure being carried by those involved.

Oscar winner Angelina Jolie stars as Maxine Walker, an American director of indie horror films on the verge of her big break. She’s been invited to create a short film that will open the show just prior to the models taking the runway. Chosen to star in the film and be first on the runway is this year’s big new arrival, rookie model/actor Ada (real life model Anyier Anei in her debut film role). The striking Ada is from Sudan by way of Kenya. Another character we are keyed on is French make-up artist Angele (Ella Rumpf, RAW, 2016), who maintains a helpful approach, despite often being taken advantage of.

Ada has skipped Pharmacy School and kept the secret from her father as she pursues this possible career change. Angele is working diligently to be a writer, despite the harsh criticism from a older male editor who tells her, “Just because they (the stories) are real doesn’t make them interesting.” Maxine is dealing long-distance with her teenage daughter while also going through the legalities and emotions of a divorce. All three working women have men making their dreams more challenging to reach. Maxine has it even worse when a doctor hits her with the results of a biopsy. This seems especially pertinent since Ms. Jolie underwent a preventive mastectomy and lost her mother to breast cancer.

Other characters involved here include Ukrainian Christine (Garance Marillier, RAW, 2016), an anxious seamstress working on her first solo dress for the show; Anton (an underutilized Louis Garrel, LITTLE WOMEN, 2019) as Maxine’s oft-frustrated cinematographer; and two French acting legends, Vincent Lindon as Maxine’s Doctor Hansen and Aurore Clement as a woman she meets in the hospital waiting room. There are many other near-connections, and that’s probably the film’s greatest flaw. So many of these characters could provide an interesting story, yet it feels like most get shortchanged. The film’s messages come across quite clearly: Fashion Week is built upon the work of many women, and those women all overcome obstacles to complete their work.

In theaters beginning June 26, 2026

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Posted by David Ferguson

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