Geoffrey Fletcher's filmmaking debut, Violet & Daisy, is the summer's oddest, most original treat. Imagine a script by Quentin Tarantino, directed by Wes Anderson - and you have an idea of just how deliciously surprising this film can be.
There are many ways to interpret Precious. I acknowledge that Precious is about the darkest of human tragedies and, yes, depicts a horrible truth. The well-crafted art of film is always fiction presented as an artifact of truth. Pablo Picasso once said, "art is the lie that reveals the truth."
Set in California's forgotten Salton Sea, writer-director Elgin James' debut follows 15 year-old Lily (Juno Temple) and her best friend Alison (Kay Panabaker) as they attempt to flee their impoverished community and build a nest in Los Angeles with a group of runaway squatters.
It is not the responsibility of The Help to be the be-all, end-all big-studio movie involving the Civil Rights Movement. It does not concern itself with those who actively fought for freedom because that is not the story being told.