A British comedy series that was originally called Scrotal Recall before it was bought by Netflix and rebranded. It’s about Dylan and his friends, he is a desperate romantic in his 20s who suddenly discovers he has chlamydia, and therefore must contact all his (numerous) past sexual adventures and relationships. Every episode has the name of one of the girls he has to contact, and the story that goes with it. Dylan’s best friends are Luke, a hilarious seemingly confident but actually insecure, shallow business-school-type; and Eve, Dylan’s best friend who may have undisclosed feelings for him, she is a sarcastic, smart girl who is very well portrayed by Misfits star Antonia Thomas. Lovesick is a charming little series, that portrays failed relationships but ends up being beautifully romantic. Something you can easily find yourself watching many episodes in one take.
There may not be a show or movie out there that the term “slice-of-life” applies to better than Easy. Don’t watch it expecting stuff to happen, it won’t. I mean it will, but don’t expect any big plot twists, and don’t anticipate the end of episodes: enjoy it as it happens. With different stories in each 30-minute episode, Joe Swanberg (Drinking Buddies) who created, wrote and directed will feel as the only constant throughout the series. Yet, as you move through it, you realize that other than being mini-cameos to each other, these characters share many of the same defining elements of modern-day culture. The ways they navigate relationships, sex, and technology is relevant and realistic.
Like Father, Like Son is a profoundly interesting, multi-layered Japanese film about a young couple who come to learn that their son was unknowingly switched at birth with another boy, and begin a complicated relationship with their real son and his family. Both sides struggle to cope with the looming possibility of returning each boy to his true parents, while the differences between the two families in means and lifestyle lend further complications to their attitudes and their ability to find a resolution. It’s an even-handed yet poignant story that examines the difficult emotions around parenthood and parental expectation, including a meaningful examination of the “nature versus nurture” argument. Very honest and real — you'll enjoy it even more if you appreciate the intricate style of Japanese cinema. Winner of the Jury Prize at Cannes.
In The Salesman, Oscar-winning director Asghar Farhadi (A Separation, About Elly), tells the story of a happily married couple who live in Tehran: Emad (Shahab Hosseini) and Rana (Taraneh Alidoosti). When they are forced to move to a new apartment, something about the previous tenant causes a sudden eruption of violence that turns their lives upside down, causing strain on their relationship. Farhadi does what he does best here: deliver on complex issues that characterize his society through ordinary events. Every scene is a privileged look into Iran's collective consciousness. And even with all that aside, the film still stands as an extraordinary drama, with a tense plot and amazing performances across the board.
A Call me By Your Name without the privilege, pretentiousness or wealth, and it’s probably a better movie because of it. God’s Own Country tells the story of Johnny, a kid from the Yorkshire countryside and underclass. The family’s workload and responsibility fell on his shoulders after his father suffered from a stroke, which drove him further into loneliness and alienation. Upon meeting a Romanian farmer, his ideas of loneliness, sex, and intimacy are confronted with change. A beautiful and beautifully humane film, and an unbelievable debut by British director Francis Lee.