The bestselling book genre is romance and the most profitable fiction book genre. The true story of a mother’s search for her missing child, Netflix’s Lost Girls is a clear-eyed and moving expose about the many ways in which troubled young women are let down by parents, police and society at large. Hewing closely to its source material, the film charts Emma Woodhouse’s efforts to find a suitor for her doting companion Harriet Smith (Mia Goth) while struggling with her own blossoming feelings for her sister’s brother-in-law, George Knightley (Johnny Flynn). Despair, desire, and madness are all entangled in Josephine Decker’s Shirley, about the late horror writer Shirley Jackson’s (Elisabeth Moss) attempt to pen her sophomore novel Hangsaman while dealing with her unfaithful critic/professor husband Stanley Edgar Hyman (Michael Stuhlbarg) as well as two boarders, aspiring academic Fred (Logan Lerman) and his pregnant wife Rose (Odessa Young). This subterfuge is demanded by Cristi’s gangster bosses, with whom he’s both in league with and tasked with nabbing by his law enforcement chief Magda (Rodica Lazar). Drinks and hallucinogenic edibles help alleviate the initial awkwardness of this get-together, but the good times are fleeting, thanks to a strange mist emanating from the dark, furious depths of the ocean, which contaminates the area with glowing Lovecraftian foliage and giant, slimy organisms. On a Cape Cod getaway, aspiring astrobiologist Emily (liana Liberato) and her going-nowhere boyfriend Randall (Noah Le Gros) wind up sharing accommodations with fiftysomething couple Jane (Maryann Nagel) and Mitch (Jake Weber), friends of Randall’s dad. Whether being chastised by her boss (who’s only heard in hushed phone calls), or sharing quiet, pointed glances with her female colleagues, Jane is a victim of both exploitative men and, just as severely, a corrupt institutional structure that perpetuates itself by fostering cutthroat ruthlessness and alienating silence. Be it Kathy going through her sister’s things and cleaning a bathtub soiled by a cat’s corpse, or Del caring for his VFW pal Roger (Jerry Adler), who’s slowly losing his mind, the specter of death—and the memories summoned up by the end of the road—looms large over the proceedings, culminating in a shattering Dennehy speech of irreparable sorrow. In no particular order: This is not a list to include "inspired by" movies, but factual true stories. Nonetheless, amidst such incessant, graphic cruelty, compassion fleetingly materializes in the form of a kindly priest (Harvey Keitel), a Nazi soldier (Stellan Skarsgård) and a Russian sniper (Barry Pepper) who teaches him about “eye for an eye” justice. The list is also MY opinion. It can be a minefield for parents to navigate, and unfortunately, modern culture does not often mix well with this particular time in a boy’s life. Diao’s neo-noir follows a gangster named Zhou Zenong (Hu Ge) who, after killing a cop in a criminal enterprise gone awry, partners with a “bathing beauty” prostitute named Lu Aiai (Gwei Lun Mei) in order to reunite with his estranged wife Yang Shujun (Wan Qian), all so she might collect the reward on his head. Pages in category "Fiction set in 2020" The following 18 pages are in this category, out of 18 total. Acting doesn’t come much bolder and more blistering than in Ma Rainey’s Black Bottom, George C. Wolfe’s adaptation of August Wilson’s 1982 play about a 1927 Chicago recording session by real-life blues legend Ma Rainey (Viola Davis) and her backing band, comprised of trombonist Cutler (Colman Domingo), bassist Slow Drag (Michael Potts), pianist Toledo (Glynn Turner) and trumpeter Levee (Chadwick Boseman). Driveways isn’t simply one of the late Brian Dennehy’s final performances—it’s also one of his finest. At four-and-a-half hours, the legend’s latest sociological investigation paints a sprawling portrait of the work that goes into maintaining, and improving, a metropolis, especially when said locale is undergoing a significant demographic transformation (55% of Boston is now non-white), and its economic inequality is complicated by a host of racial, gender and class-related issues. Yet as evidenced by the numerous gems that arrived over the course of the past twelve months, cinema remains as vital as ever. You can now purchase books directly from Penguin Random House on RIF. Beginning with those infants’ births, the film—from a startlingly close proximity that exudes tenderness and empathy—captures animal life in all its drudgery and beauty, full of struggle, nurturing, conflict, exploration and abandonment. Repeatedly shouting out to both crime movies and Westerns – even its title and central conceit feel like references to Lauren Bacall’s iconic To Have and Have Not line of dialogue – the director orchestrates his action with slippery subtlety and droll humor, and he continually surprises on his way to an expressively non-verbal finale of light and music. Fourteen years after becoming a household name, Sacha Baron Cohen’s Khazakstani reporter Borat Sagdiyev returns to mock racist, misogynistic, anti-Semitic Americans in Borat Subsequent Moviefilm, the rare comedy sequel to equal the side-splitting hilarity of its predecessor. Non-Fiction Published in Year: 2020 Non-Fiction Published in 2020 Published in Year 2020, 2019. That Buckley’s protagonist is referred to with various names speaks to her fuzzy, fragmented identity, just as the film’s blend of comedy and horror, as well as intricate dialogue and interior narration, speaks to its duality-centric nature. You’ll never look at sows quite the same way again. Jean-Pierre and Luc Dardenne gaze into the dark heart of religious fanaticism in Young Ahmed, a drama that’s all the more chilling for proffering no easy answers. The Best Historical Fiction of 2020 (So Far) From murder at Plymouth Rock to intrigue in mid-century Florida, 10 standout historical crime novels to devour this spring. Showing science fiction movies Monsters of Man December 8, 2020. Even amidst such insanity, however, the filmmaker never loses sight of his characters’ humanity, nor their humorousness, be it Tommy Chong’s local squatter or Cage’s paterfamilias, a dork prone to fits of rage and weirdness – such as when he demonstrates the proper way to milk an alpaca. Although most were viewed on inadequately small screens, the legion of fiction and non-fiction releases that helped us cope with our pandemic-wracked reality delivered welcome doses of excitement, drama, terror, and humor. It is a remarkably candid, oft-humorous, and devastatingly insightful read. Also fixing its gaze on a one-legged chicken cautiously trudging through tall grass, and a herd of cows whose dark, mysterious eyes gaze intently at the camera, Kossakovsky’s dialogue-free portrait conveys essential truths about survival, togetherness and love through protracted takes that creep around and alongside its four-legged subjects. Sneaking swigs of booze, of course, has a predictable downside, and Vinterberg’s film (co-written by Tobias Lindholm) charts his protagonists’ revitalizing high and inevitable crash with compassionate attention to the malaise of middle age and the temporary bliss that comes from getting good and blitzed. This latest edition is lifted by the whimsical and vivid illustrations of Maira Kalman. As the famed author behind The Lottery and The Haunting of Hill House, Moss radiates ferocity and instability, and she’s matched by Stuhlbarg as the creepy, codependent Hyman. Nonetheless, writer/director Francis Lee’s film follows in the grand tradition of The Age of Innocence in recounting its protagonists’ flowering relationship, which is complicated by not only the women’s different dispositions and situations, but by a society that prevents them from expressing their amour. Nonetheless, the alternately combative and chummy English pair remain in fine, funny form, and their swan song proves to be their most substantive collaboration since their maiden outing. Luke Gorham In Review Online. So many fabulous nonfiction books were published in 2020, and I had a hard time narrowing down my favorites. Wolfe keeps the material spry and sensual (as well as explosive) by keeping his roving camera trained on his stars, who swing for the fences with ferocious gusto. With On the Rocks, Sofia Coppola reunites with her Lost in Translation star Bill Murray for another odyssey involving a young woman and an older man. A cry for help and a call to arms, it’s nothing short of straight-up horrifying. If I left a "true story" movie off the list it was intentional. Or try any of these new books that our editors recommend . That, in turn, allows the HBO feature to rest on the sturdy shoulders of Jackman, who never resorts to caricature in embodying Tassone as a discontent striver whose eagerness for validation dovetailed with his lifelong deceptiveness, to disastrous ends. That the Russian-controlled state is on a genocidal mission to “cleanse the blood” of the nation by exterminating its homosexual population is a terrifying reality brought to light by France, who details the efforts of these brave souls to use subterfuge to sneak at-risk individuals to safer European enclaves. Bio-terror comes in corrupting forms in The Beach House, whose contagion-based scares speak, subtly if severely, to our present moment. Cast in funereal grays and blacks, and aided by lead performances that do much with minimal gestures, it’s a nightmare – about the fleeting nature of life, the finality of death, and the unspeakable evil that lurks in the shadows – that’s soaked to the rotten bone with misery and terror. Cruel blackmail soon proves to be Masha’s means of coping with loss, but healing is in short supply in this ravaged milieu. Autobiographical tales of trauma don’t come much more wrenching than Rewind, director Sasha Neulinger’s non-fiction investigation into his painful childhood. These 5 Non-Fiction Books are some of the best, handpicked from a variety of expert lists around the internet that you could read in 2020. There’s gnarly, unnerving texture to everything in this unhinged film, which fragments and reforms like a nightmare born from the darkest recesses of the mind. Aviva tackles the multifaceted nature of gender identity in fittingly diverse fashion, depicting the highs and lows of a couple’s relationship via narrative and modern-dance means – as well as by having both a man and a woman play each of its protagonists, male Eden (Bobbi Jene Smith, Tyler Phillips) and female Aviva (Zina Zinchenko, Or Schraiber). At the same time, he reveals the ways in which the white status quo – embodied by villainous PC Pulley (Sam Spruell) – sought to destroy it. Aaron Moorhead and Justin Benson are genre filmmakers adept at crafting time-travel stories that double as subtle inquiries into the human condition, and their latest, Synchronic, is their most straightforward and high-profile venture to date. A bright and playful kid, Neulinger soon morphed into a person his parents didn’t recognize – a change, they soon learned, that was brought about by the constant sexual abuse he (and his younger sister Bekah) was suffering at the hands of his cousin and two uncles, one of whom was a famed New York City temple cantor. Yaffa’s portrait of Russia is one both intimate and probing. For New Orleans paramedics Dennis (Jamie Dornan) and Steve (Anthony Mackie), life has turned out to be an unexpected disappointment, and their discontent with their disparate stations in life (Dennis is an unhappy husband and father; Steve is a lonely and aimless ladies man) is amplified by a spate of deaths that seem to be related to a new synthetic drug called synchronic that causes Dennis’ 18-year-old daughter to disappear. Teaming with his former production designer Juliano Dornelles, director Kleber Mendonça Filho (Neighboring Sounds, Aquarius) delivers an allegory of zonked-out weirdness with Bacurau, which quickly has locals engaging in a do-or-die battle with a pair of interloping São Paulo bikers and a group of murderous Western tourists (led by a hilariously peculiar Udo Kier) who’ve traveled to South America to partake in a variation of The Most Dangerous Game. The December 14, 2012, shooting at Sandy Hook Elementary School in Newtown stands as one of the most devastating mass shootings in US history. A companion piece to last year’s excellent The Cold Blue, Erik Nelson’s Apocalypse ’45 imparts a striking sense of WWII chaos and carnage via newly unearthed and restored material shot during America’s campaign against the Japanese in the Pacific theater. The modern gig economy receives a thorough thrashing by Ken Loach’s Sorry We Missed You, another sober class-conscious drama from the celebrated British director. Thrillingly grand and revealingly intimate, it paints a timely portrait of the heroism, and sacrifices, required to uphold democracy. Presenting its story through fractured plotting and dreamy monologues, the Portuguese master’s latest is a series of tableaus of lovelorn grief concerning not only Vitalina but also an aged priest in spiritual crisis and another young man poised to endure his own tragedy. A nighttime race through Manhattan in an old-school sports car is the material’s comedic high point, and contributes to the warmth and affection that Coppola showers upon her metropolitan setting, here envisioned as a dreamy wonderland full of intrigue, adventure and alternately enervating and enlivening domesticity. When thinking of genius-level intellects, the conversation almost invariably centers around men: Albert Einstein, Stephen Hawking, Leonardo da Vinci, etc. It is a deep dive into the other, oft-overlooked scandal of the Nixon White House: Vice President Spiro Agnew’s years-long extortion and bribery scheme. Moreover, he imparts a sense of the vital role that dialogue plays in fostering change, and uniting dissimilar people. The director’s follow-up to Madeline’s Madeline is a psychosexual affair about lost women driven crazy by callous, self-serving men, and their resultant fears and needs. His mission leads him to a Russian arms dealer (Kenneth Branagh) and his unhappy wife (Elizabeth Debicki), although the narrative twists and turns of this would-be blockbuster – made even harder to follow by a sound mix that turns some dialogue unintelligible – are secondary to the flair of its set pieces, full of reverse bungie-jumping and skirmishes, shootouts and car chases that run simultaneously backwards and forwards. Let’s have a look at the best new nonfiction. Here, Levy pulls from hundreds of interviews to present a kaleidoscopic narrative of a company that has had arguably the largest influence on American culture over the last decade. Shot with bobbing, swaying gracefulness that’s in tune with its environment, it’s an evocative, empathetic and altogether unforgettable portrait of life on the fringe, where escape from reality is a constant—if self-destructive—desire, and solace is only found at the bottom of a glass, in the company of fellow drunks. Catrin Einhorn and Leslye Davis’ intimate direction captures this family’s saga through ups (Brian’s new marriage) and downs (an unthinkable loss), in the process conveying how our dispositions and adult paths are inherently shaped by our parents (and the values they teach) as well as by the calamitous incidents that detonate our sense of stability. Accordingly, it took me a while to get this list whittled down, but I finally did. Forced to flee their native land by inter-tribal warfare, and then compelled to assimilate in a foreign environment where locals glare at them with suspicion and revulsion, the couple prove figuratively homeless no matter which way they turn. Attuned to the rhythms of the road and the alternately harsh and inviting (and awe-inspiring) terrain of the Midwest, and populated by a host of excellent non-professional actors, Zhao’s film is a a poetic Malickian ode to the pioneering nature of the restless American spirit. The symbiotic relationship between man and machine is the foundation upon which Cronenberg constructs a dark, demented story about performance, and the effect it has upon the performer’s sense of self, which truly comes to the fore when Tasya’s latest vessel—Colin Tate (Christopher Abbot), boyfriend to the heiress of a data-mining mogul (Sean Bean)—turns out to be a less-than-compliant instrument of death. On Churchill’s first day, Hitler invaded Holland and Belgium. Lovecraft are an ideal genre-movie pair, and Color Out of Space ably channels the latter’s gift for unreal terror while providing the former with a vehicle for charmingly out-there antics. Every performance is magnificent, but no one in the cast stands taller than the diminutive Kim, whose turn is irresistibly authentic and charming. We may earn a commission from these links. At the center of his tale is Maxim Lapunov, whose release from a Chechnyan torture chamber—and resultant knowledge of the government’s monstrous activities—turns him into the state’s Enemy Number One. At the center of this guilt- and fury-driven tale, a magnificent Dafoe exudes inner torment and a yearning for salvation, as well as a self-loathing that feels destined to land him on a cross. You Won't Want to Miss These Historical Netflix Films . Their lives are further complicated by the arrival of Monica’s mom Soon-ja (Youn Yuh-jung), a foul-mouthed grandma whose relationship with David begins rockily before transforming into something profound. And while myriad benefits may come with this decline, the enormous disruption that will accompany it could be equally as destabilizing as over-population. Madness has arrived in infinite-hued form, as Stanley evokes a sense of rifts opening between our world and the great abyss beyond, and delivers fantastical sights of both a CGI and practical-effects sort. Unfortunately, the group was disbanded without recognition after the war and largely lost to history until now. The 1,100 women who made it through the rigorous program were not authorized for combat but nonetheless proved a skilled asset to the larger war effort as they trained male pilots and ferried bombers and pursuits. Intermingling copious footage of Camp Jened and the movement it produced with heartfelt interviews with some of its tale’s prime players, Crip Camp is a moving example of people fighting tooth-and-nail for the equality and respect they deserve – and, in the process, transforming the world. Few films are this tough to sit through—or difficult to forget. The film’s gimmick is that said drinking establishment is actually located in New Orleans, and its patrons have been cast to play improvised versions of themselves—a formal approach that allows the directors to faithfully capture the entire spectrum of sloppy, joyful, self-pitying, antagonistic and regretful emotions that invariably materialize in (and define) such a joint. And for even more nonfiction books that are great for gift-giving, check out our list of the Best Nonfiction Books to Give as Gifts. The Great Migration—a movement of millions of Black Americans from the largely rural South to the urban areas of the Northeast, Midwest and western United States—was a seminal moment in modern US history. At its midway point, McQueen’s film becomes a straightforward courtroom drama about the fight against prejudice and for justice. Also generating pathos from agonized father-son traumas, it’s a male weepy that, courtesy of its well-calibrated empathy, earns its melodramatic tears.Watch Now. Guns, abortion and immigration are the most contentious of the hot-button topics tackled by these would-be representatives, and through their campaigns, what emerges is a portrait of politics as a war defined by personalities, prejudices, fearmongering, and dirty tricks and slander. Over the course of one sloshed 24-hour period, Bloody Nose, Empty Pockets evokes a pitch-perfect sense of its going-to-seed milieu and equally haggard visitors, with former actor-turned-floor sweeper Michael proving the weary epicenter of its laid-back action. A descendant of Jan Švankmajer and the Brothers Quay, Cristóbal León and Joaquín Cociña’s The Wolf House is a mesmerizing stop-motion storybook fable about a young girl named Maria who flees her Chilean-situated German colony (based on the notorious real-life Colonia Dignidad, formed by ex-Nazis) and, to protect herself from a predatory wolf, takes refuge in a house in the woods. In the tough times of 2020, I’ve found myself drawn to nonfiction that made me look at the familiar in a different way. At every turn, what Mari discovers is a lack of urgency about, if not outright indifference to, her daughter’s disappearance, even after other bodies are found in the very same area. Humans have been seeking ways to avert the ravages of time for basically as long as there have been humans. An opening scene in which Yoko fails to catch a mythical big fish in Aydar Lake – and then has her femininity blamed for this letdown – serves as a gentle metaphor for her ensuing search for purpose, freedom and confidence to face a strange world that seems intent on menacing her, be it police officers whose questions and demands she doesn’t understand, or an amusement park ride that spins her into near oblivion. Whether you’re looking for the next great memoir, a fascinating historical account, or simply a bit of inspiration to start the year off right, 2020 is shaping up to be a banner year for fans of nonfiction. It’s a muted and moving snapshot of men searching for a second wind in reckless fashion, and as Martin, Mikkelsen delivers one of the finest performances of his career, veering between numbness, regret, doubt and—in that astounding climax—liberating release. Cristi’s playing-both-sides predicament is complicated by his relationship with Gilda (Catrinel Marlon), an alluring beauty whose femme fatale status is underlined by her famous noir name, and Porumboiu fractures his narrative so that chronology, like the various dialects employed by his characters, comes across as intricately coded. 2020 Science Fiction Movies. At the head of that impressive pack (which also includes Bill Nighy) is Taylor-Joy, whose Emma exudes just the right amount of playful cockiness and ambition – qualities ultimately undercut by her realization that no amount of manipulations can change what the heart wants. What it instilled in them was a sense of self-worth, as well as indignation at the lesser-than treatment they received from society. With the Academy Awards right around the corner, it’s not surprising that many beloved and award-winning movies are based on novels. Hidden Valley Road is a powerful family saga centering around a family with 12 children, six of whom were diagnosed with schizophrenia. In the director’s sterling feature debut (written by James Montague and Craig W. Sanger, and framed as an episode of a Twilight Zone-ish show called “Paradox Theater”), two 1950s high schoolers – confident radio DJ Everett (Jake Horowitz) and telephone operator Faye (Sierra McCormick) – stumble upon a strange signal that, they come to suspect, originates from the stars looming above their small-town-USA home. The specter of death is everywhere in this rustic residence, whose cluttered boxes and myriad artifacts are reflections of its owner’s mind, and whose creepy wall rot is echoed on Edna’s aged body. Those sequences, as well as a disaster-wracked finale, also capture her gnawing anxiety about finding her way – an issue that also pertains to her dream of becoming a singer, which manifests itself in two separate fantasy sequences that prove highlights of Kurosawa’s idiosyncratic latest. Eliot, and Pablo Picasso. Courtesy of a phenomenal Cohen and Bakalova, Borat and Tutar’s sour-to-sweet relationship provides a sturdy backbone for a series of politicized hidden-camera gags in which the foreigners’ unacceptable behavior coaxes real people to expose themselves as bigots and sexists. Beset by hunger, the two come upon the home of a witch (Alice Krige), whose feasts are as mouth-watering as her magic lessons for Gretel are simultaneously empowering and unnerving. The vivid footage that comprises the entirety of Nelson’s non-fiction portrait is downright stunning, be it of soldiers crouched behind sandy dunes upon arriving at Iwo Jima, or aerial dogfights that are depicted via the POV of fighter planes’ gun turrets. Utilizing a variety of disguises to mask his (fictional) identity – because everyone, by now, recognizes him on-sight – Borat reaffirms his status as cinema’s clown prince of pranksterism, culminating with a Rudy Giuliani interview that has to be seen to be believed. Enlivened by an intoxicating feel for Rome’s nocturnal streets, periodically segueing into fantasy sequences, and vacillating on a dime between laid-back romanticism and anxious volatility, the film refracts its maker’s highly personal hang-ups through an intense and immediate lens. Steven Soderbergh shoots movies like no one else, and his warm, silky direction is central to Let Them All Talk’s mirthful and prickly charm. Until recently, medical research has largely treated men and women as essentially the same, ignoring the reality that women are far more likely to suffer anxiety, depression, stroke, and a host of other issues. Weeks’ scares are assured, and all the better for being intertwined with his protagonists’ complicated refugee circumstances, with Bol eager to fit in and Rial increasingly resentful about her rootless condition. A nearly three-hour black-and-white odyssey through allegorical Holocaust horrors, Václav Marhoul’s The Painted Bird isn’t for the faint of heart. By Keith Rice • 12 months ago. Each of the director’s images is more ravishing than the next, and their beauty – along with an enveloping soundscape of squeaking beds, sheets blowing in the wind, and rain pattering on crumbling roofs – is enchanting. Round and round the romantic entanglements go, not only for these three characters but a host of others that de Wilde and screenwriter Eleanor Catton faithfully delineate in clean, bright brushstrokes. It educates us and entertains us, soothes us and challenges us. Those who can walk that path find success, but at great cost. Nicolas Cage and H.P. ‎Show fiction/non/fiction, Ep We're in a Scary Movie, and It's Called 2020: emily m. danforth and Laura van den Berg Discuss Literary Horror and Our Upcoming Election - Oct 22, 2020 Directors Jesse Moss and Amanda McBaine’s documentary follows a number of kids as they make their way through Texas’ week-long Boys State program (sponsored by the American Legion), in which hundreds of teenagers are split into two political parties (Federalists and Nationalists) and asked to create a unified platform and elect officials. Though the results aren’t as dynamic as their prior collaboration, Coppola’s fizzy romantic drama nonetheless finds its headliner in outstanding form as Felix, the suave ladies-man father to Laura (Rashida Jones), with whom he embarks on an investigation into the possible two-timing proclivities of her husband Dean (Marlon Wayans). In this empathetic portrait of the scars of war, there are profound truths about grief, survival, and the ingrained patterns of our lives. Kitty Green’s The Assistant is the first great #MeToo film, a scathing look at the mundane day-to-day ways in which gender-imbalanced abuse and unfairness are built into workplace systems. In his final screen performance, Boseman matches his co-headliner’s intensity, his Levee so full of vibrant, self-destructive fury, desire and life that it’s a tragedy the performance stands as the late actor’s swan song. A swirling psychodrama about loss of reality – and thus, self – the film is wrenching precisely because it doesn’t unduly pull on the heartstrings; rather, Zeller respectfully evokes the grand and subtle horrors of this all-too-common nightmare, with Hopkins embodying Anthony with pitiable mystification, malice and dread. 1: Hood Feminism: Notes from the Women That a Movement Forgot by. Tenet September 3, 2020. Romanian director Corneliu Porumboiu once again melds his interests in language and genre filmmaking with The Whistlers, a neo-noir about a police officer named Cristi (Vlad Ivanov) who travels to the Canary Island of La Gomera to learn an ancient whistling language that doesn’t sound anything like a human form of communication. And you can watch them right now. Taking the form of a black-and-white film from the 1940s, Fincher’s inside-baseball character study scrutinizes the marriage of movies and politics, and the push-pull between self-destruction and creativity, through the lens of Mank (Gary Oldman), whose story flip-flops between his time in a ranch house writing Orson Welles’ (Tom Burke) masterpiece and his prior relationships with William Randolph Hearst (Charles Dance) – the inspiration for Kane – and the mogul’s mistress, actress Marion Davies (Amanda Seyfried). Following World War II, Don and Mimi Givens had built a standard midcentury American life. "Non-Fiction" is definitely a talking movie with, maybe, 3 minutes of silence, no dialogue! Epitomized by Jane’s meeting with a cruelly calculating human resources rep (Succession’s Matthew Macfadyen), whose threats are all the more harrowing for being both implied and logical, it’s a portrait of sexism’s many insidious forms. Rad American History is a vibrant and powerful view into American history. Oh, he’s a pretty big fan of sci-fi and fantasy as well. Building from their unmatched pool of sources and relying on myriad new interviews with senior members of the Trump administration, Rucker and Leonnig present the definitive account of the tumultuous and chaotic presidency of Donald Trump. Adapted from Jerzy Kosiński’s celebrated 1965 novel of the same name, Marhoul’s film is a harrowing saga about an unnamed Jewish Boy (Petr Kotlár) who, during WWII, is subjugated to every depraved indignity under the sun at the hands of various Eastern European villagers with whom he temporarily stays. Oldman is magnetic as the dissolute scribe, and Seyfried is even better as the not-as-dumb-as-you-think blonde starlet. 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