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Francesca Faccani

“But please, don’t ask me who I am. A passionate, fragmentary, girl maybe?”. If you see me, I will probably be crying over a 7 season-long TV show from the early 2000s while holding a used copy of some suicidal poet’s works. Other than that, I am an incredibly zestful person!

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La Lutte des Classes: A Marxist Guide For Children (Review)

Michel Leclerc’s newest comedy drama La Lutte des Classes amusingly explains uphill classism and liberalism, supplying everyone with a good moral compass.

I Am (Everything You Already Knew About) Greta: Film Review

I Am Greta is a 2020 biopic that aims to humanize the figure of young climate activist Greta Thunberg, but fails to paint a fair portrait.

Succession (Review): The Kardashians Meet Shakespeare

HBO’s Succession encompasses the intricacy of power and family business, and it unveils the aftermath of this mix in a brilliant Shakespearian-carnivalesque farce.

Hollywood (Review): A Netflix Fairytale, but Let’s Make It Real

Hollywood is Ryan Murphy’s newest Netflix miniseries. Under the premise of rewriting history, this gilded…

Mrs America Review: Stories of a Feminist E.R.A.

Mrs. America is the series that has the nerve of telling the story of the…

Judy (2020) Film Review

Somewhere near a religious tribute, Garland biopic Judy rewrites the star’s past, finally placing her on the right side of history.

Where’d You Go, Bernadette: Film Review

Where’d You Go Bernadette is Linklater’s attempt to portray an artist’s creativity, family crisis and many more other disconnected themes.

The Report: Film Review

Steve Z Burns’s The Report is the audio-visual evidence of how much we still need political-inquiry dramas.

Frozen II Dwells in The Past, And So Does Disney (Review)

Frozen II is out, six years after the first film. Frozen’s sequel is yet another example of Disney’s struggle to move forward from its glorious past.

Brittany Runs a Marathon and Wins Over Our Hearts (Review)

Brittany Runs a Marathon is the feel-good movie of this end-of-decade. Colaizzo’s debut comedy deftly touches many dramatic peaks, and yet insists on flirting with stereotypes.