Downey manages to build a live-in world around "Father" ( Christopher Rygh), a warrior who hunts monsters across a lush, snowy wilderness looking for the head of the beast that killed his daughter. The film was shot on a ridiculously shoe-string budget of just $30,000 but you'd never know. The core of most great horror is a filmmaker accomplishing a lot with a little, and nobody has quite understood that like Jordan Downey in his 2019 medieval creature-feature, The Head Hunter. Ginger Snaps puts a clever spin on a lot of themes - sexuality, sisterhood, loneliness, outsider pride and the desire to belong - and in doing so, it puts a fresh spin on one of horror's most long-standing genres. The effects are on point, the characters are relatable and sympathetic (even those like the high school mean girl, the local drug peddler, and the horny teenage boy are treated with a dose of empathy), and the actors all committed in their pulpy roles. Ginger Snaps was one of the early adopters of the 21st-century trend to address female puberty by way of monstrous transformation (see also: Teeth, Wildling, Revenge, among many others), and it does so with great effect, but it's also a downright well-made horror film. A coming-of-age tale via lycanthropy, Ginger Snaps tells an intimate story about two death-obsessed, co-dependent sisters who are slowly torn apart when the older girl starts to change after a werewolf attack. It would be comforting to think of the one-child policy as something that happened “over there” and “in the past”, but One Child Nation makes its ramifications immediate and unforgettable.John Fawcett‘s spin on the werewolf mythos should be considered among the ranks of the modern monster classics, and easily one of the best werewolf movies, but outside horror circles it's too often forgotten. As Wang points out, while some may see this as the opposite of America where abortions are largely outlawed as opposed to carried about by the government, it’s just different ways of the government depriving women of autonomy over their bodies. While some may argue that it was a necessary evil, One Child Nationlooks at how much evil had to happen, from mass infanticide to forced sterilization to baby trafficking to family separation. The high cost of totalitarianism yields a nation of people who felt they had no choice but to submit to the government’s cruelty in favor of a policy that was created out of fear of over-population. You may be vaguely aware of China’s “One Child” policy that ran from 1979 to 2015, but Nanfu Wang and Jialing Zhang’s harrowing documentary delves into the wide-reaching ramifications of the policy. LuLaRich will, like all good true-crime documentaries, both fascinate and enrage you.
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What LuLaRich shows so well is that America is badly failing working moms, and that they were the chief victims here as they wanted a sense of fulfillment, community, and financial reward, and thus fell into this scam that took advantage of these desires. While a normal business would just sell pants, LuLaRoe was selling the opportunity to sell pants, which meant getting people to buy in with everything they had, not just financially, but through their entire family lifestyle. They do not come off well as the filmmakers not only talk to the women who were burned by this multi-level marketing scheme, but are able to juxtapose Brady and Stidham's smiling talking head interviews with their dour depositions from being sued by the State of Washington.
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What sets LuLaRich apart from other documentaries is that it got the founders of LuLaRoe, DeAnne Brady and her husband Mark Stidham, to sit down and tell their side of the story. LuLaRich exists at almost the perfect intersection of a Venn diagram for documentaries about capitalist destruction, fraud, and cults, which is surprising because it's about a company that made pants with fun designs on them. Directors: Julia Willoughby Nason, Jenner Furst