Article Review by Malaka Sanders

There was an award show this week at the Roxie and some of the most thought provoking and honest animated short films produced in recent years are being screened. The Aggregated Animated Shorts Second Annual Film Festival Award Ceremony started at 6:30 pm on July 31. The Roxie is located one block east of 16th and Mission and Aggregate Space Gallery, the event sponsor, is an exhibition and performance space in West Oakland. Winners in categories including Most Seductive Animation, Best Sound Design, and Best in Show are being screened.

The two hour event will also include short films directed by the award winning directors acting as judges for this year’s festival: Meghana Bisineer, Tan Wei Keong, Clement Hil Goldberg, and Jeremy Rourke. Keong’s 2014 short film “Pifuskin” won the award for Best Experimental at the 2015 Singapore Short Film Awards and was the winner in the Non-Narrative category at the Aggregated Animated Shorts Film Festival last year. Scenes from his current film, “The Great Escape” feature a similar, drawn character as the one that starred in “Pifuskin” in almost quiet scenes that are pregnant with meaning.

Stop motion animation, the style used in Herbie Hancock music videos in the eighties, is used to great effect by Mike Cantor, one of the directors competing in this year’s festival. His “Advanced Doodling” is a short film about art making that features over 20 artists and utilizes graphic effects to alter the viewer’s perception of time.

Stop motion animator and film festival judge Jeremy Rourke shot the short film, “I’ll Be Around” – which includes live action sequences of theater equipment traveling down the sidewalk as if walking – in San Francisco. “This part [uninhabited cinema seats traveling rapidly through a neighborhood on casters] was so dangerous” Rourke said in an interview. “I was going across the street. People were stopping traffic for me. They were saying, ‘Stop! He’s trying to make a movie!’”

“Lyrics on the Paper” is a light-hearted, animated, mixed media musical in which Rourke sings and plays guitar throughout. “We travel with the notions and the emotions that we have chosen,” he sings. He continues, “Words aren’t working all that well. I’m using them and I can tell.”

Unspeakable topics like intimate violence are highlighted in a non-threatening way in the beautifully animated productions of festival entrant Carla Ciuffo. Her spacious and abstract cartoons are visually stimulating, contemplative works that touch on social themes. “A Thousand Hands, A Million Stars” ends with a chorus of voices repeating, “We cannot look away.”

Other festival entrants include Noah Aust, Sandro Del Rosario, and Lydia Greer. Aust funded his collaborative, college thesis production, “How to Make a Nightmare” with a Kickstarter. IMDb lists it as released in France in 2015 and he describes it as having a “cranked up to eleven, acid trip, dark comedy style”. Del Rosario’s works include “Lo Sguardo Italiano (The Italian Gaze)“, an artfully animated film full of soft, pastel colors and a reflective narrative on Italy that was created with thousands of oil painted photos. Greer is a San Francisco Bay Area animator whose experimental shadow animation is often screened as part of live, operatic performances. She is the director of Facing West Shadow Opera and is currently working on, “a Baroque puppet opera about the wild west”.

All of this year’s entries will be featured at Aggregate Space Gallery during Oakland’s First Friday event on August 3.

Article Review by Miranda Caravalho

Here’s the thing: I came out at a pretty young age.

It wasn’t the grand and dramatic story people hear about in movies and the like. My immediate family was supportive, and my more distant relatives responded with a murmur and an empty stare that was neither with me nor against me. I was here, queer – and, evidently, everyone was used to it.

But that’s not to say things weren’t without tension, even if just within myself. I tottered into a group of young queer activists during high school. These were radical, brilliant kids who were marching in protests and putting bills into action that would protect generations. Then there was me. My modus operandi? I wanted to get married to a lady. I may have been accepted, but inwardly I felt wholly inadequate.

So when I saw Rise Up! Social Justice in Art open at the San Jose Museum of Art, I was reluctant to go. I felt that taking space there would be an act of fraud, like someone would notice my presence, point an accusatory finger and shout “That woman! She hasn’t called her congressperson!”.

Still, I went. Maybe it was for the review, maybe it was the seductive siren song of Pride Month making me bold. Whatever it was, I’m glad I went, because Rise Up! is a small but truly spectacular exhibit.

This collection is a variety of mediums – from sculpture, to intricate watercolor, to massive mixed media pieces that literally command space in the room. A good example of this is Mickalene Thomas’s Portrait of Qusuquzah #5, a giant work of enamel, oil and rhinestones that depicts one of Thomas’s many muses in her passion for depicting strong black femininity. Each sequin is placed by hand, adorning the model’s eyeshadow and lips, and her deep, dark eyes stare out at whoever passes her with unquestioned self-assurance. There’s no other way to say it, Portrait of Qusuquzah #5 is a shrine to power that glitters as you approach it from every angle.

I was also drawn to Chris Ofill’s Untitled (Couple E), two portraits that depict an African-American couple dressed in royal regalia. This is a work that grows the more you watch it, as you take in the detail of the watercolor, the precision of the lines in the clothing and the way the colors seep and bleed into each other. It’s strangely soothing, almost cooling in a way. And once more it comes with two more pairs of piercing eyes.

What I went to see, though, and what got me to come back to the exhibit a second time, was Robert Arneson’s Five Times for Harvey, a collection of five portraits depicting Harvey Milk, California’s first openly gay elected official, from his start in office to his eventual assassination. When I first saw these portraits I stood in front of them for a long time. The drawings are all based on the same smiling photo of Milk, but they’re depicted in these frantic, scratching lines and colors – except for the third one. The third portrait is all black and grey. If you look closely you can see the words NO DAN NO scrawled along his upper lip, a reference to Milk’s killer. And in the one following that the colors return with an explosion, blacking out Milk’s eyes and mouth. You can see BANG BANG BANG faintly running across his forehead.

In the final portrait Milk’s face is once again smiling and serene. There’s a gold star painting over it, a nod to the legacy the man left in his wake. It’s a legacy that can’t be shot down, one that rises with each wave of a rainbow flag. I found myself moved to tears right there in the museum.

I left Rise Up! with a sense of pride – who would’ve guessed. I could see my identity displayed in physical form, and it was beautiful. For all the queer persons and POC reading this, let me just say, your humanity is powerful. It is sequins and shadow, and so many colors. It doesn’t matter if you take part in every march or hold yourself more quietly, you deserve to see yourself made into art. Allies too, you have a chance to open yourself up to the souls and minds of your fellow Earth-mates. I don’t know how often I’ll be able to say this without hyperbole, so I’ll say it now – everyone should see this exhibit. Just to entice you I’ve left a few treasures unsaid, so you have a surprise or two in store when you come.

Now, if you excuse me, I have to call my congressperson.

• JUN 8-SEP 30: Rise Up! Social Justice in Art from the Collection of J. Michael Bewley | San Jose Museum of Art, San Jose, California

Robert Arneson
Five Times for Harvey, 1982
Mixed media on paper
30 × 24 inches
Gift of J. Michael Bewley
© Estate of Robert Arneson, 2018, licensed by VAGA, New York, New York.

Article Review by Natalie Wiser

Live at the historic Curran Theatre: don’t miss Soft Power, a “play with a musical” now showing until July 8.

Written by David Henry Huang, who worked on famous plays and musicals such as M. Butterfly, Aida, Tarzan, and Yellow Face, enter what feels like a very Inception-like play about a musical based on a real story. David, a real Chinese-American man, fell in love with the popular Rodger and Hammerstein’s The King and I, but noted it’s odd story. A white Englishwoman travels to Siam, this “uncivilized” third-world, originally as a governess, but somehow knows how to “properly” rule a country and bring it into the family of greater nations. It was a diffverent time when this show was first created, but David decided to flip the switch. What if instead of Caucasian and European cultures being educated and enlightened, it was actually Asia that dominated the world? What if today’s world leaders learned a thing or two from Chinese culture to make their societies better?

This idea is then born into Soft Power quite literally: the show starts with a character named David Henry Huang (played by Francis Jue) based off of the real David and creator of the show. While floating in and out of fantasy and reality, this show is riddled with catchy songs, irreverent dance numbers, accurate Chinese language pronunciation, and of course political banter. A core event of the show is the 2016 election, which as David portrays was a dangerous time to be an immigrant in America, even though he had been born here and had live here his whole life. This show is full of political jokes, lots of large semi-automatic riffles, Budweiser, and other classic American icons that what make our country great. As a quick disclaimer, the show was predominantly one-sided and very, very blue, so perhaps it is not the best for easily offended conservatives.

Overall, it was a fantastic show. When first going into the theatre, I did not really know what it was going to be about besides Chinese culture. I was a little disappointed that there wasn’t much actual Chinese culture in it; I was expecting real Peking Opera scenes or mostly Chinese dialogue. However, I did appreciate that it was an all-Asian cast for all of the Asian roles. It did get a little too political and satirical at times, but it quickly pulled you back at just the right times. The cast was extremely talented and the sets filled up the small Curran stage appropriately. You will feel moved, you will feel inspired, and you will laugh a lot when you go see this show.

Come catch Soft Power while it’s still here! You get to see Hillary Clinton dance, so if that doesn’t sell you on the show, then I’m not really sure what else will.

• #SoftPowerCTG
• #SoftPowerArtsEarth

Article Review by Malaka Sanders

The 2018 Architecture and Design Films Showcase at the Yerba Buena Center for the Arts runs until July 1.  More than fifteen films covering these important topics are being shown in the YBCA theatre; including Dream Empire, which won the top prize at the Thessaloniki Documentary Festival last year and was produced by the Danish Film Institute and Sundance Institute.  Dream Empire is a boom to bust story about the real estate hyper bubble in China – the economic event that has created the most world-renowned, architecturally significant, destination airports.  The final screening of this film at the YBCA is on Sunday, June 24 at 3 pm.

Dream Empire chronicles wealthy real estate investors using finance capital to fill remote towns in China with opulent, Vegas style condo megaplexes – one is shown that even has its own underwater museum.  It was shot by David Borenstein, an American director who also narrates parts of the documentary.  But the film is mostly narrated by its star, Yanna Yang, the female co-founder of the “foreigner rental agency” that employed the director – as a “white monkey” he says – when his anthropology scholarship ran out.  Yanna sells shows – international acts – to real estate developers who feature costumed foreigners as entertainers – and, even, props – at massive condo sales events.  The stunning architecture of the brand new developments provide a lush backdrop for the difficult circumstances being navigated by the two.

After finding out the fate of the agency in a peak at the ending during the opening scene – which lends a bookend effect to the documentary that is reminiscent of an essay – Yanna is then seen recruiting David, on the streets of the thriving city of Chongquing, during the early years of the company.  Her business partner, Jimmy, takes meetings with investors and she also, separately, makes sales presentations.  Together, Jimmy and Yanna chronicle the growth of their company in videos of their expanding office space over the years.  Yanna, a rural migrant, struggles financially when the firm’s margins thin.  She sells her stake in the firm to Jimmy, because she has no money, and tells him that she’s taken a unique economic perspective following her tenure as a co-owner of their business.

The environment is festive as David documents his experience as a performer at “the most eye catching projects not only in China but in the entire world” according to one investor interviewed on-screen.  Sexism in the industry is briefly highlighted when Yanna tells David about an early career experience with a male investor that led to her to seek the protection of a male business partner.  As she states reflectively, during one of her narratives, “The things I have experienced have completely destroyed my way of seeing the world.”  Cultural appropriation is also writ large when David’s camera observes an expo attendee – likely a prospective home buyer – petting one of his co-workers as he stood as a prop – and the co-worker communicating his disdain.  Then, the expo was interrupted by protestors – a group of buyers of the dream homes that were now, largely, empty towers. Panning shots of these dark and lifeless structures at the end of the film contrast sharply with the big parties and exuberant declarations made by China’s President Xi Jinping years prior about China’s economic power to bring any beautiful thing that could be imagined into existence.  Dream Empire allows the viewer to witness China’s architectural renaissance.

Reviewed by Meaghan Alfonso

NOV 17-MAR 31: Opulent Mobility 2017 – An Online Art Exhibit

Disability shouldn’t be a burden or something to look away from. Since 2009, Opulent Mobility’s unique exhibit started with the artwork of A. Laura Brody, a professional costume maker and designer. She first developed Opulent Mobility as a series of artworks before expanding in 2013. Opulent Mobility gives easy access to its audience by posting its exhibits online. And its sound clip descriptions make it incredibly accessible for people who have trouble seeing. For OM’s 2017 exhibit, 9 talented artists have contributed artwork inspired by the world of disability. All of them have created beautifully gorgeous pieces, but I do have some favorites that I will share with you today.

My first artist that I want to share is, of course, A. Laura Brody herself. She has created some inspiring work that represents what it means to have a disability in her own eyes. Her first piece shown is called “The Kali Walker“, and its made of an aluminum walker, re-purposed leather, and hardware. Kali, the Hindu Goddess of time and empowerment, is presented in front of the walker. Also a demon slayer, Kali is such a powerful symbol and embodies what it should mean to people who have a mobility problem. Brody quotes that, “Disability and aging are demonized in our culture as tragedy, weakness, and something to be feared. Kali in her walker represents a different truth—that time catches up to us all, and that strength and ferocity are not measured by physical ability.” The symbolism in this piece shows such wonderfulness and creates an uplifting feeling, that we shouldn’t be scared of the future– of what is to come when getting older.

Fang-Wei Hsu, one of my other favorites, is an illustrator and writer from Taiwan. Her piece, “Flamboyance New Life“, is very elegant yet fragile. Made from an abundance of materials (Aluminum crutch, ribbons, organza, feather, fringes, netting, gold and silver metals, Swarovski crystals, acrylic found objects, LED lights and battery), this piece shows her relationship with disability and her identity being a disabled person herself. Hsu says in her artist statement that, “Art making is not simply an internal conversation or emotional outlet, it conveys my perspectives of life” which I believe is true for most artists. Art mimics life and vice versa, so having pieces being created like Hsu’s is so inspiring to see.

Lastly, Katherine Sherwood’s “Maja“, is aesthetically pleasing and nostalgic in way. This piece is part of a series she has called Venuses of the Yelling Clinic, and painted on the linen backs of Art History reproductions made in 1950-60s. The linen backs are all tiled together, and she has painted a silhouette of a “maja”, so to speak, right on top of the linen backs. Using a yellow and black color palette, Sherwood has created a beautifully large scale painting that is hard to forget. Because it is not extensively detailed, you are able to retain the information given. It is a naked woman laying next to a cane. But who is this woman? Your mind starts to create some ideas of what she should look like, but either way she is beautiful.

The symbolism and creativity of each piece are so different from one another, yet the same. I respect Brody for creating an exhibit that might not be for everyone, but there is definitely a voice in it. I know that I have only talked about a few artists here today, but the the other talented artists are definitely one to check out! Disabled or not, you will enjoy talking a look at these lovely pieces and maybe take something else “home” with you other than the art.

NOV 17-MAR 31: Opulent Mobility 2017 – An Online Art Exhibit

article by Amanda Alfonso

Although the Henry Art Gallery seems somewhat small, it manages to pack five little exhibits. It’s also easy to find, being connected to the University of Washington. While every current exhibit on display at the moment strikes interest and inspiration – one intrigued me in particular, and that was Doris Totten Chase: Changing Forms. I had never heard of Doris Totten Chase until this exhibit but what attracted me most to it were the eerie sounds emanating from the corner of the gallery floor. I had it set in my mind, after viewing two of the exhibits, that I would head home – being tired from having walked all day. I decided instead to keep walking through, and picked up a pamphlet on the way.

The exhibit is interactive and invites you to watch different experimental videos that explore shapes, movement and sound. Using technology available at that time, the videos span from the early 1970s to the mid-1980s – and it’s pretty obvious. The videos display either shapes – usually rectangles or circles – spinning forward or backward with layers of different colors. They’re entrancing to watch, especially with the eerie compositions in the background. Some of them feature dancers or actors, moving their bodies in different neon colors or reciting a monologue. The compositions score them moving at first a full-bodied outline, then transitioning into impressions as if dissolving into a thermal image of themselves.

The exhibit also displays Chase’s paintings, which display mostly disc outlines, almost looking like springs in movement (the pamphlet states that “circles would remain a constant throughout her career.”) And although these are also intriguing, there is something about the videos that are particularly striking, mostly because of how much time has passed, giving the videos, I imagine, a different context and reaction. Maybe what was once viewed as only experimental or avant-garde when they were first projected, could now be called nostalgic (in terms of technology) or even dystopian – like watching Bladerunner in the 21^st century. In fact, her videos even look like something that could be taken and placed in some technology-driven dystopian film.

I was glad to continue on to the exhibit and become inspired by an artist of many different mediums – and who was also born and raised in Seattle. The exhibit will be on display until October 1 and entry only costs $10 (even less for students!) – and while at the Henry Art Gallery, I highly suggest exploring the other exhibits, which are equally worth checking out.

article by Greg Cutler | photos by Jon Bauer

Tony Bennett performed for San Francisco in Davies Symphony Hall for two nights only on July 17 and 18.

Antonia Bennett was the first act of the night. As the daughter of Tony Bennett, Ms. Bennett’s stage presence is captivating. The way she moves to whatever song she is singing draws you in like a fish towards a shiny lure. There is that Bennett influence to be sure, but she has her own swagger and style that is more sultry and alluring. Before you know it, you’re hooked, and then she hits you with a long, smooth, powerful note. It was a special treat to see her perform before her father.

She got things moving right off the bat with “Teach Me Tonight”, an upbeat, happy song. Some heartfelt emotions sprang to the surface when she said a few words about how much her father has influenced her, and she dedicated her next song to him, “You’re A Lucky Guy”. Her rendition of “From This Moment On” was the most memorable part of her performance. She is a serious performer who breathes emotion into her music with grace and power.

Next up was Tony Bennett. He strode onto stage and the place went wild… I mean, berserk. His arms outstretched, his hair perfect, his gleaming suit with the red pocket square; immaculate. It was Tony Bennett! He hadn’t even started singing yet, but we all knew, this is a star. The grand scale of the Davies Symphony Hall seemed to shrink down to the size of a small jazz club in North Beach back in the day. The whole stage was lit up, but Mr. Bennett shone like a beacon, dimming the rest of the room.

I have to admit that I’m fairly easily moved by good art, but by the 3rd song, there were definitely tears in my eyes. This guy was giving it everything he’s got. Every note was perfect, because Tony Bennett was singing it. There was a force behind the music emanating from his body that was like watching a prize fighter in the ring. It wasn’t physical power. It was artist power. All those years of training, all of the previous performances swirling around in his head were intuitively informing his every move. He is truly a master.

It was familiar and inviting, but simultaneously new and exhilarating. He treads new ground with every performance. Standards? These are not your standard standards. He was like a visiting ambassador of jazz from New York showing us how it’s done. We were humbled. We welcomed him with open arms. He is the real deal.

His iconic smile is infectious. He doesn’t even need to sing. He started out almost every song as if he was starting a conversation with one of his band members. He kept sneaking in little nuances, little improvisations, that flickered and disappeared. In the middle of “I’ve Got Rhythm”, he broke into a little scat. During “One for My Baby” he yells, “Band, take it!” He just has the tools at his disposal. He kept looking up into the balconies sharing his love with the audience and showing his appreciation like everyone in the hall was an old friend.

He is the king of sad songs. “Solitude” is a heartbreaker, but he turned that frown upside down. He somehow transformed it, and by the end, was emanating feelings of intense joy. His phrasing is impeccable. He rearranged his own songs in ways we’ve never heard them. “It Amazes Me” amazed me. He re-told the story of “Steppin’ Out With My Baby” like it was not even the same song.

The quartet is an essential part of the magic of Tony Bennett. There were times when he and his quartet acted as one. They communicated like a hive mind, moving and thinking together. Several times, Mr. Bennett left the lime-light to stand next to each band member in turn as they performed their solos. Billy Stritch on piano, Gray Sargent on guitar, Marshall Wood on bass, Harold Jones on drums are each incredible musicians in their own right and it was a thrill to hear them perform.

Then, Mr. Bennett broke away from the pack in a single bound. It was as if he was up there on stage all alone. Even though the music continued, he was by himself. He was able to convey incredible vulnerability. It was as if he would physically shrink. During the same song, he suddenly burst forth with unbridled power, in joy and laughter, seeming to grow in stature. He was able to penetrate right into our hearts with those golden vocals.

Of course he sang “I Left My Heart In San Francisco”.

But that was not the end of the show. When he put down the microphone and sang “Fly Me to the Moon”, it was a very special moment. He doesn’t need the band or the microphone to connect with the audience.

He received no less than five standing ovations during his performance. He never stopped to take a break. He seemed like he could keep going all night and we all felt like he really wanted to. Performing for a packed theater of a couple thousand people must be stressful for some, but he acts like it’s a walk in the park. Tony Bennett gets the last laugh.

article by Connor Behrens

Director Jon Watts’ latest film, “Spider-Man: Homecoming,” is a 2017 American superhero film based on the Marvel character of the same name.

Energized by his time with the Avengers in “Captain America: Civil War,” teenage Peter Parker returns back to his “normal” life with Aunt May. Being watched by his mentor Tony Stark, Peter quickly takes on his secret identity as New York’s Spider-Man. But trying to return to his normal routine of high school becomes difficult as he grows weary to prove himself as more than just a friendly neighborhood superhero. Peter is soon faced with putting his strength and resolve as a superhero to battle when a criminal known as Vulture arises to jeopardize everything Peter stands for.

For being the seventh film to feature the titular character, “Spider-Man: Homecoming” oddly feels fresh. While it might be due to the setting of Spidey firmly planted in the overall Marvel Cinematic Universe, the film does a better job at giving audiences an original and fun (although fluff at times) reimaging of the popular superhero than recent past attempts.

The previously mentioned addition of Spider-Man in the MCU is the most startling difference when thinking of past films. Seeing Peter interact with Iron Man and numerous references to Avengers characters creates a unique experience for audiences. If “The Amazing Spider-Man” films tried to focus on Peter’s backstory and his battle to balance his love life with his work as a hero, “Homecoming” tries to focus less on what audiences have seen and more on what hasn’t been touched on. In this case, that is a coming-of-age story.

To be fair, a coming-of-age story isn’t quite rare. However, when you pair that concept with a superhero film, the result is not only interesting but also compelling. Tom Holland exceeds in the role through this lens. Holland plays to the emotions of the audience. He is wide-eyed, starstruck and happy to just be here. While he has quite a bit to do before he becomes the definitive Spider-Man on film, the young actor is on the right track with his portrayal. It is classic Peter Parker. He’s smart with just the right amount of playful cockiness. He’s witty, but he would never dare be rude or inconsiderate.

Facing off against Holland is the impeccable Michael Keaton. Many fans feel as if the MCU has been lacking in the villain department. Aside from Loki, Marvel has had a shaky track record for antagonists. Keaton puts this to a stop with his relatable and chilling performance of Vulture. The film does a great job at giving Keaton’s character reasoning behind his madness. He is a workingman who has consistently been overshadowed by those who are richer and more powerful in society. There’s a specific scene where Keaton’s delivery is everything you would want from the former Batman.

However, there are times where the movie feels similar to the “Iron Man” films. These moments are most prominent when Peter plays with his suit upgrades. Strangely, the film is its strongest when Peter is left to himself and not sharing a scene with an Avenger.

Overall, while “Spider-Man: Homecoming” does not match the brilliance of Raimi’s “Spider-Man 2” the film is still a rousing success, full of heart and angst.

Rating: 8.3/10

articles by Connor Behrens

This past week saw the Netflix release of director Bong Joon-ho’s latest film, “Okja,” and director Edgar Wright’s triumphant return to theaters with the electric “Baby Driver.”

With the release of these two films, it’s apparent that Hollywood isn’t too lazy and incapable of creating original content. Amid the “Spider-Man” and “Transformers” franchises and the high-budget ridiculousness of “Pirates of the Caribbean,” this week has offered up a tasty alternative and a brief answer to those worried that cinema’s future will consist of nothing but mindless reboots.

“Baby Driver” tells the story of Baby, a young getaway driver who is grudgingly forced to aid criminal heists for an old-timer criminal mastermind in the promise that he will have an improved life.

Using terms such as “slick” or “stylish” could explain the crazed contents of Wright’s gem that runs at a taut one hour and 53 minutes, but that wouldn’t even begin to describe the eclectic, ultra-violent film that fires on all cylinders.

With an all-star cast consisting of Kevin Spacey and Jamie Foxx, “Baby Driver” features a smart screenplay that mixes noir with heart – a combination not seen very often in cinema. But thanks to the tenacity of the scenes and the energy that Wright jolts via the editing and soundtrack, the film is an ultimate winner.

As the credits play and the darkness slowly dissipates as the lights turn on in the theater, you will sit in your chair and think to yourself, “This film is going to be known as a cult classic in 10 years.”

That is “Baby Driver.”

Rating: 9.3/10

On the opposite side on Netflix, “Okja” provides the next film from the director who created the spellbinding and bizarre “Snowpiercer.”

For a decade, young Mija has been the warden and friend to Okja – a massive pig – in the faraway mountains of South Korea. All of that changes when the Mirando Corporation takes back Okja for themselves and ships her to New York, where a vain and outlandish CEO has ideas for Mija’s pet. With all other options quickly fading, Mija decides to go after and resue Okja, taking her on a wild and dangerous journey.

While not as entrancing as “Snowpiercer” but just as wacky, “Okja” provides a fierce commentary on capitalism and consumerism. While its muddling pace admittedly brings the film down from reaching true greatness, the heartwarming main star (a giant pig you are bound to fall in love with) and supporting cast make this another winner for director Joon-ho. “Okja” also gives hope to Netflix’s promise that they will create more original content and offers a viable way for original films to rein supreme outside the blockbusters and big-budget films.

Rating: 7.8/10

While this summer has proven blockbusters can be original and still provide a mainstream delight (“Wonder Woman”), it’s refreshing to see a barrage of original films come out in a season where the sphere is almost always dominated by superheroes and giant robots. It’s a healthy mix for general audiences to choose from. And when is that ever a bad thing?