ScreenFish

where faith and film are intertwined

Heather Johnson

Raya and the Last Dragon: Trust Lost. Trust Restored.

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I love The Mandalorian (and all Star Wars).

I love WandaVision (and all Marvel).

I love High School Musical (and all the others).

But my favorite, FAVORITE Disney moments come when Disney goes back to its roots and gives us a good animated classic. And Raya and the Last Dragon should be considered one of Disney’s finest moments in the genre it defined.

Division is no stranger to the world. As far as history takes us, there has been tensions between people, often resulting in feuds, borders, and violence. Our reasons for such behavior are as varied as our humanity itself and, from my vantage point, it’s hard to have hope for authentic reconciliation.

For Raya, there was a moment of that same hope that was quickly destroyed. For 500 years, the once-harmonious people of Kumandra had been fighting amongst themselves in the wake of a monstrous Druun attack. Through the power and sacrifice of the dragons that once lived peacefully with the people of Kumandra, the dark beings were defeated, but the people were left divided, breaking into factions and arguing over who should have the Dragon Gem. Raya and her father, leader of the Heart tribe, are the protectors. During an invitation for peace, Raya befriends Namaari of the Fang tribe, only to learn that peace was never truly an option as the Druun return and terrorize yet again. Years later, Raya continues her quest to find the last dragon, Sisu, who is said to have the power to once again defeat the Druun and bring back those who were lost.

Disney’s 21st century approach to princess movies continues to earn my respect. And while no movie is perfect, Raya and the Last Dragon was pretty close. For starters, the majority of the voice cast are actors and actresses of Asian heritage – fitting considering the context of the film. This is an increasingly important element in movie making, so I am glad to see the intentionality with the casting. Kelly Marie Tran as Raya, Awkwafina as Sisu, Gemma Chan as Namaari, Daniel Dae Kim as Raya’s father Benja, and Benedict Wong and Sandra Oh are incredible together. So, I consider that a pretty solid starting point.

Also, let’s take a minute to appreciate just how pretty this movie is. The technology and craftmanship behind the animation blew me away, down to the stands of hair coming undone in Raya’s braids. With such attention to detail, it was near impossible to look away. The cracks in the sand, the dimension of the water – even the dust floating – all of it painted a realistic-yet-enchanting visual.

Plus there is ZERO LOVE INTEREST and I am here for it. While trying to find the last dragon, find all the pieces of the Dragon Gem, avoid being turned to stone by the Druun, and relentlessly hoping to save her father, Raya flat out does not have time for a relationship. To force something into the story for the sake of it would have ruined this entire film.

Instead, Raya has to learn something else. She has to open her heart back up to people in general. Trusting a stranger led the world to ruin, so to protect herself from ever making the same mistake, she withdraws and keeps everyone she meets along the way at arm’s length. Goodness, how often have we all been broken by someone turning on us after trusting them? And unfortunately, this is often something kids learn at young ages, so they can relate to Raya’s journey in a way that is understandable and relevant to them.

Finally (for the sake of this review), this movie rejuvenated my sense of hope. Reconciliation is straight up hard work. It’s uncomfortable. It requires time and intentionality. It can hurt. But it’s possible. Raya fought the truth that Sisu regularly spoke out of fear that she would be hurt again. But the truth is, yes, we will get hurt again. And we will hurt others. But we don’t stop trying. Peace-making is messy. But man, how beautiful it can be.

Raya and the Last Dragon is now available in select theatres and to rent on Disney+.

The World to Come: Isolation that Binds

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I don’t find it surprising that I’ve watched this film as we hit the year mark of when the world shut down. Suddenly, we all were thrust into immediate isolation within our homes – away from our jobs, families, social circles, etc. – in a time of crisis, fear, and unpredictability. Suddenly, people around us were dying in droves.

Suddenly, our best laid plans were wiped away.

So the relevance of The World to Come is not lost on me. This film about isolation, grief, and the absolutely necessity of human connection is a poignant insight into how we are wired. In a lot of ways, it reminded me of 2012’s post-apocalyptic film The Wall from director Julian Pölsler. From the first-person narrative structured in short bursts to the graininess of the landscape and the sheer sense of desperation from a harsh and unforgiving land, both of these films highlight the lengths we will go through to find meaningful connection. But, in this case, The World to Come takes place in 19th century America when land was plentiful, neighbors were few, and grief was an ever present companion.

I’ve read mixed reviews that tend to focus on the slow pace, the heaviness of Abigail’s (Katherine Waterston) melancholy and hopelessness, the trope of forbidden frontier love, and even “leftist” ideology in the form of this woman and woman romance. And I disagree with all of them.

Isolation is debilitating. Grief is haunting. While Abigail’s and Dyer’s (Casey Affleck) marriage has brief flickers of sun, they are irrevocably changed by the death of their young daughter. And that impact, while it may morph, never goes away. Even when spirited Tallie (Vanessa Kirby) turns Abigail’s mournful world upside down, the longing for the world she lost never disappears. Instead, Tallie’s empathy and affection provides the opportunity to escape across stolen moments, and in each other they fill pieces of the voids buried deep in their souls.

How this film from Mona Fastvold could be anything other than it was is not even a question for me. Every moment felt intentional and thoughtful. Despite the outward brightness and outgoing demeanor of Kirby’s Tallie, I could never take my eyes off Waterston’s Abigail. Her humble posture, internal longing for a shred of hope, and her manner of speaking touched me. It was all heartbreakingly beautiful from start to finish.

Perhaps it is because I am more aware (than ever before) on the importance of connection. Perhaps it is because Abigail’s and Dyer’s young daughter reminded me so much of my own (who is very much healthy and well). Perhaps it is because long ago I experienced a grief that I thought would never fade. Whatever it is, I feel connected to this story. I do not fault Abigail. I do not fault Dyer. I do not fault Tallie. All of them were searching for something elusive and transcendent – something that as whole, they couldn’t quite piece together. But it didn’t stop them from trying. And it shouldn’t stop us, either.

The World to Come is available on VOD on March 2nd, 2021

Sex, Drugs & Bicycles: Wait, You Can Do THAT?

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Before watching this documentary, the most that I knew about the Netherlands involved tulips and the ceramic clogs that my mother and grandmother collected. It’s only been more recently that I’ve even begun to intentionally learn more about countries and lifestyles beyond American soil, so it made sense to me to take a look into this film and see what it could show me about a country so very different than my own.

And I left enlightened. 

Sex, Drugs & Bicycles from Jonathan Blank takes us through a comedic and visually engaging journey in and around the most common (and some of the more obscure) highlights of Dutch infrastructure and lifestyles. From their healthcare, family lives, and work-life balance to the political scene, climate responsibility, and even bike riding, Blank makes sure we see all the color and drama that life in the Netherlands has to offer.

For starters, the filmography matches the vibrant content. In a style I can only describe as “paper-animation-puppet show meets no-holds-barred video,” this documentary is a fun mix of satire and insight presented in a way that kept me completely engaged. It was immediately evident that the Dutch know exactly who they are and why they do what they do. This acceptance of acting as “a salad bowl,” as opposed to “a melting pot,” seems to me to be the primary reason that they are regularly ranked in the top 5 of nations in the areas of healthcare (#3), education (#3), freedom of the press (#3), productivity (#4), and number 1 in happiest children and work-life balance.

But how does all of this actually happen? As an American, most of my education in those areas has told me: “universal healthcare doesn’t work, people take advantage of vacation time, success is dependent on how hard you work, and if people don’t earn it, they don’t deserve it, etc.” (I could go on and on). But the numbers tell a different story. And while I acknowledge that life in the U.S. is vastly different than in the Netherlands, I can’t help but wonder what we are missing out on.

The Netherlands takes the health of their citizens seriously. No one is making money off of the health care system and people have equal access to the services they need including transgender support and sexual health care. With required vacation pay AND vacation time, Dutch citizens are still some of the most productive (and prosperous) people in the world even though they are paid for 13 months and only work 11. This means families actually spend time together, with regular lines of communication between parents and children that last well beyond their challenging teenage years – which is a huge component of why those same kids are ranked as the happiest in the world. And by biking everywhere, the country as a whole seems to have a communal pace that ebbs and flows with the times.

Now this does not mean everything is perfect there, or even feasible everywhere. Racial tension is climbing as more Dutch citizens acknowledge a problematic history regarding the Dutch slave trade. While LGBTQIA rights are taken very seriously and publicly supported, the discrimination is still there. And after previously leading the way in climate change, the Netherlands is now playing catch up after years of laxed policy. Some of those interviewed in the documentary are even concerned that perhaps Dutch leadership is taking the country in the wrong direction. 

Do the Dutch do things that I don’t agree with? Absolutely. I’m not comfortable with their acceptance and promotion of sex work, nor how they approach drug education and experimentation. But I maintained an open mind so that I could at least understand their why, even if I still didn’t agree with their how. To ignore the systems and structures of other countries is to actually do a disservice to my own. There is always something to learn. And Sex, Drugs & Bicycles showed me I have much learning still to do.

Sex, Drugs & Bicycles is available on Friday, February 26th, 2021.

WandaVision Episode 7: “Would You Rather Be Feared or Loved?”

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I’ll keep this short and sweet. 

I haven’t had a show that has kept me in a perpetual state of “what the heck is going on and what the heck will happen” since season 5 of Bones the way WandaVision has. (To be fair, that’s actually the last season I watched – another story for another day.) Most of my conversations over the weekend involved episode 7: “Breaking the Fourth Wall,” and, if they didn’t, I was googling #allthethings.

Friday’s format was my favorite yet. The show’s use of The Office and Parks and Rec interview style and direct character-to-audience engagement was hilarious. Kat Dennings’ Darcy Lewis gets funnier by the minute, and I squealed at those scenes with Monica. Of course, the ending blew me away (I’m still humming the tune), and be sure to stay tuned during those credits as the powers that be finally pulled a classic MCU move with a bonus scene. There was just so much to watch.

And so I ask one question: if you aren’t tuning in to WandaVision, just what are you doing?

While it’s no secret that this is leading up to the next phase of movies, there is still so much to enjoy on its own merit. Elizabeth Olsen’s acting is phenomenal, especially when Wanda’s control is slipping and sliding. Her comedic delivery in this most recent episode is just one more example of Olsen’s ownership of this character and personifying the depth of complication and humanity that is within Wanda’s psyche. So often we talk about what she is doing to others and her motivations, but these past two weeks especially have shown us the toll it’s having on her.

Now we know that she isn’t the only player involved, but it’s her relatability that makes her such a powerful character for me. We’ve talked a lot about her losses and grief and just how powerful she is, but something I don’t think we talk about is how normal Wanda can be. No matter how or why she is in Westview, at her core she just wants a happy life. She loves Vision. She loves her boys. She’s stressed and tired from being on her guard 24/7. Super human or not, she just wants peace. 

As we fly forward into the final two episodes that are sure to be even more riveting than the ones we’ve seen so far, I’m hopeful we remember this side of Wanda. I don’t think she wants to be feared. I think she just wants to be loved.

WandaVision is now streaming on Disney+

The Man From Nowhere: The Prodigal Father

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Relationships are messy. Whether it be the one between friends, siblings, or parent and child, our imperfect humanity often creates challenges and struggles between ourself and those closest to us. Sometimes it isn’t intentional – we grow comfortable with one another so we talk a little more harshly and our emotions may be more at the ready. Other times it is by choice – we go looking for a fight or we choose our wants over another’s needs. Motivations aside, there will always be opportunity for conflict. But there is also the opportunity for healing should we go looking for it.

In The Man From Nowhere from writers Chris Dowling and Matt Green, we have front row seats to both the complication and restoration of a broken relationship. For years, high-profile lawyer Jake (played by Seth Bowling) kept his father at arm’s-length. A bestselling author, Herb (played by Nick Searcy), was never around much for Jake, often running off somewhere to write or promote his newest book. Without the grounding of an authentic father-son relationship, Jake has thrown himself into a lifestyle of selfishness, alcoholism, and very little grace or mercy for the people he works with. When his drinking spirals out of control, his law partners force him into a decision: take time off and get right, or resign and move on. 

As Jake reluctantly agrees to some time off, Herb shows up on his doorstep – literally – so that he may work to restore their broken relationship while he has just a few months left with cancer. Herb is so driven for reconciliation that his final book was written specifically for Jake. And as Jake journeys through the story of another father searching for his son, he opens his eyes to the changed heart of his own father. 

Herb’s motivation for reconnecting with Jake isn’t just about a wayward father returning home to his son. His larger goal is to show Jake how there is another Father – one who is perfect and good and full of grace and love for him. Herb knows he messed up, and that he did wrong by Jake. But he isn’t going to stop there. Whether it is through his book or the stories of old veteran friends and experiences, Herb regularly points Jake to the God that is waiting to embrace him. 

I enjoyed the “story within a story” format, and the tension between Jake and Herb was quite palpable and authentic. What I wasn’t expecting was how this film struck a chord within my own heart. Too often I make the mistake of keeping a record of wrongs, and can justify my actions toward others based on how I grew up or as a result of complicated relationships. And that can totally be valid in a lot of ways. But as I watched Jake humble himself to the humbling of his father, I was reminded of the responsibility I have to own how I live into my relationships. Jake had every right to be mad, but as he hears about both this earthly and heavenly love, he chooses NOT to stay embroiled in bitterness and resentment. And in opening himself to Herb, he throws open the gates so that God can walk right in. It’s a reminder I needed. And it’s one we can all take with us through this film. 

For more on the film, check out www.manfromnowheremovie.com, available now!

Firefly Lane: Friendship At Its Best…or Worst?

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“Who is your best friend?”

This question always made me nervous as a kid. Today, I’ll talk to practically anyone and quickly proclaim a stranger a friend, but the young version of me was incredibly shy and reserved. I didn’t go looking for friends and depended on a neighbor or two, someone on the bus, or mostly my cousins. I was naïve and content in my immediate bubble when I compared myself to the girls around me, and I didn’t exactly navigate the transition into my teen years with particular grace. Essentially, I was Kate Mularkey in Netflix’s newest adaption of bestselling series from Kristin Hannah Firefly Lane. Trade out my 1990’s setting for Kate’s 1970’s, and there I am. Longing for something elusive and waiting for the answer to that question – who is my best friend?

For teenaged Kate (Roan Curtis), her world is rocked when the beautiful and tenacious Tully Hart (Ali Skovbye) moves in across the street with her eccentric and addicted mother Cloud (Beau Garrett). On the surface they couldn’t have been more different. Where Kate is reserved and (mostly) content, Tully is vibrant and rebellious. Each missing what the other has to offer, they begin the trek into adulthood and lifelong friendship while weathering the next two decades, each fighting to find herself while clinging to one another.

FIREFLY LANE (L to R) ALI SKOVBYE as YOUNG TULLY and ROAN CURTIS as YOUNG KATE in episode 102 of FIREFLY LANE. Cr. COURTESY OF NETFLIX © 2020

As Kate and Tully begin their careers in journalism (now played by Sarah Chalke and Katherine Heigl), their friendship is the rock of all they do. Tully pushes Kate into taking risks and going after what she wants and Kate is the anchor to Tully’s tumultuous emotions and often erratic behavior. Kate still strives to be all things to all people, and Tully relentlessly seeks to carve out her name on-camera. And as the threads weave in and out with their present-day and future lives, Firefly Lane paints a portrait of a bond that is as fragile as it is concrete. By the end of this first season, we see just how long this friendship has walked the tightrope between devotion and – dare I say it – toxicity.

I hesitate to use that word because it seems extreme. But then again, so is Kate and Tully’s relationship. Their identities are intwined in a way that crosses the boundaries of marriage, parenting, careers, and everything in between. And while I wasn’t really invested until about episode three (I’ve never read the original), Chalke’s and Heigl’s performances pulled me into that complexity with their embodiment of these characters. I love their friendship, but I’m incredibly wary of their friendship. I want them to always be together, but I want them to let go and step into their own lives apart from each other.

With the inclusion of Ben Lawson, Jon-Michael Ecker, Yael Yurman, Jason McKinnon, and Chelah Horsdal (to name a few), Firefly Lane creates a believable community that surrounds Kate and Tully’s tug of war for identity. Together they all navigate the hard-partying 80s, establish families and careers in the 90s, and face life-changing events in the years immediately following the attacks on September 11, 2001. We watch them mature, yes, but we also are watching them fall apart.

I asked a question at the very beginning: “who is your best friend?” But I want to ask a different one now: “what is a best friend?” Is it someone you’ve simply known forever? Is it someone who promises to make each birthday something special? Is it someone who will step to the side for years so that you can shine? Is it someone who curls up under a blanket with you as you cry through mid-life tragedy? Is it someone who forgives you over and over for years until they literally have nothing more to give? I’d like to think a best friend is a combination of all those things and then some, and I hope as Firefly Lane progresses, that Kate and Tully can start to answer that question as well.

Firefly Lane streams on Netflix on February 5th, 2021.

WandaVision Episode 4: Oh Hey There, Marvel

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Ok. Doing this spoiler-free isn’t the easiest thing, but it’s what I’m going for. So, wish me luck.

Marvel showed up with Friday’s 4th episode of WandaVision. And when I mean showed up, I mean THIS felt like the Marvel I’ve been tracking with since Iron Man was released in 2008. Don’t get me wrong, I especially enjoyed the the look and feel of the first two episodes (as did my typically uninterested husband), but to see old faces, new faces, more easter eggs and throwbacks to previous installments than I could count, and an uncensored interaction with Wanda herself got me all hyped up for where this can take us next. ESPECIALLY in the next phase of the MCU. 

Up until this point we’ve seen glimpses of “the outside” of Westview, but the central focus has been on Wanda herself and the world in which she clearly has some control. Episode one introduced us to Westview and Wanda’s seemingly sitcom perfect life with Vision, both of them working to blend in and create a home. Episode two pulled back the veil just a bit, while also sending us spiraling into a chaos of theories regarding just how aware people are (and aren’t) that something is off. Episode three (and fresh in technicolor) was the oddest episode for me, and gave me more questions than answers. But it was a great lead in for “We Interrupt This Program,” and the Internet (and my brain) is abuzz having seen just how intricately the masterminds behind the MCU have connected this show to the larger universe…or should we say multiverse?

Something I have always enjoyed about Marvel is how, even without the background knowledge of the comics, I do feel like there is always an open spot for someone new. Maybe not in the deep dives of theories or historical timelines, but in the creativity and sensation of “hey, I feel like a part of this.” Marvel has always seemed to have a little something for everyone, and WandaVision, while incredibly different, is no exception. Even I have developed some of my own theories that I’m excited about and can’t wait to see play out. And that husband who has had zero investment in anything Marvel for the past 13 or so years is now waiting for Friday nights.

Which is what good TV does. And WandaVision is doing just that. With the Marvel flare, of course.

WandaVision is currently on Disney+.

WandaVision Episode 3: It’s a Colorful Life

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For what it’s worth, I’m not a Marvel super fan or anything. I haven’t read the comics, I don’t know the backstories, and I’m often dependent on the kindness and knowledge of internet strangers that can point me to all of the Easter Eggs that I typically miss. 

So, in a somewhat bizarre way, I think this may make me an ideal audience for WandaVision. If anything, it has my husband intrigued, and he’s not one to show interest in well…any kind of movie or series… So, what is it about the newest series streaming from Disney+ that has the two of us so entranced – along with the other million viewers? If we aren’t Marvel “super-viewers” how can we be the right fit for such a concept as WandaVision?

For the first two episodes it was obvious – the nostalgia. We both grew up with old Nick-at-Nite shows so the subtleties and throwbacks to our childhood evenings got us to sit down in the first place. Drawing us in was actually pretty easy. And because of that, we are absolutely hooked. Maybe it’s because we really don’t know what to expect. Since we don’t know all the tips and tricks of the MCU upfront, it’s really easy to keep us engaged. Now while waiting last week for episode 3, I of course did some digging to learn more about the little Marvel-esque moments and hints dispersed throughout, which helped ground me into the nuance of the story of Wanda’s abilities and her relationship with Vision. And my theories developed. I’ve gone from engaged to entranced.

And then this week’s episode 3 threw me a bit. I thought I knew who was controlling whom and now I’m not so sure. Glitches, awkward dialogue and interactions, and Wanda’s increasing awareness of something “out there,” are leading me down a new direction. And I’m not sure if it will be as colorful as the psychedelic and groovy updates WandaVision gave us this week.

However, I do know this. With its blend of sitcom humor and Marvel wonder, WandaVision, like its lead couple, is unlike anything I’ve seen. And if it can get my reticent husband to ask “when does the next episode come out,” I think’s fair game that with this show, Disney+ and Marvel are now reaching a previously untapped audience.

WandaVision‘s first three episodes are now streaming on Disney+.

NASRIN: The Voice for the Voiceless

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Great films entertain us and transport us to another world. Whether they are summer blockbusters or low-key indie films, there is power in good story telling.

But every once in a while we see something that not only transports us, but awakens us. It inspires us. It gives direction to the voice that has been whispering to us from somewhere deep in our hearts. 

Every once in a while we watch something like NASRIN. 

I was unfamiliar with the life and work of Nasrin Sotoudeh and after viewing this documentary from Jeff Kaufman and Marcia Ross, I am regretful of my ignorance up to this point. A brilliant lawyer and globally-known champion of human rights, Nasrin has spent the majority of her life fighting the corruption and compulsory requirements of the Iranian government. Filmed in secret over the span of two years, NASRIN pieces together the every day with the extraordinary. A devoted wife to her husband and fellow activist Reza Khandan, an involved mother to her children, and an inspiration to the young women of Iran such as Nargese Hosseini, Nasrin is committed to creating a world where women, children, death row inmates, LGBTQIA persons, and religious minorities (amongst others living in the margins of society). 

By blending Nasrin’s gentle and humble demeanor with her determination and conviction that everyone deserves a voice in the face of oppression, this film reflects not only the life’s work of a woman willing to face imprisonment and political corruption, but paints a portrait of an Iran that is vastly different than it’s government’s representation. Warm, vibrant, and hospitable, the Iranian people are shown longing for an Iran that stands for equality and fairness – not one of censorship and relentless control. Women and men alike demonstrate against the compulsory hijab laws, the execution of innocent prisoners, the rejection of women in roles of leadership, and political corruption. There is a depth of communal support that is both surprising and encouraging for those of us who have viewed the Iranian people through a blurred and broken lens. 

And it wasn’t an easy watch.

Opening one’s eyes to the travesty and injustice surrounding us all over the world is rarely without discomfort. Sure, I’m not naive enough to deny systemic suffering, but it has been hard to lift my head up from my own bubble and see just how much is going on around me. Nasrin focuses on the human rights fight as it lives in Iran, but it’s happening right outside my front door. My friends of color live every day in the midst of this fight. Women continue to strive for equal pay and opportunity. Members of the LGBTQIA community are still forced to live in the margins of the dignity every person deserves. THESE are human rights issues – not inconveniences like mask-wearing and limited gatherings. In our personal quests for autonomy, we have forgotten the shared humanity with our neighbors who don’t have the privilege of a fair voice, both near and far. 

There is a line from this film that is now engraved upon my heart: “Our children should not inherit silence from us.” Our voice is one of the most powerful tools for change we possess. Should we stifle it, we cheapen the witness of others who tirelessly use theirs for the benefit of others. Yes, each one of us has a unique voice, and we don’t all need to be on the same platforms. But we should be compelled to find the courage to start speaking, even if in whispers at first. And if NASRIN doesn’t compel every viewer to use their voice, then I don’t know what will.

For more information including how to view the film, host a screening, or sign the petition, please visit www.nasrinfilm.com. Stay tuned for the behind-the-scenes interview with Director Jeff Kaufman and Producer Marcia Ross. 

Modern Persuasion: The Hope in a Second Chance

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Back in 2005, I figured I knew all things Jane Austen. A year out from graduating with a major in English, I spent the best semester ever sitting in a class that was dedicated to her writings. Every paper graded was an A. My professor lit up every time I added something to the discussion. I’m pretty sure my love for all things Austen is also what helped me pass my basic HTML class (because I kept oversleeping and never really learned the coding part) as that professor was also an Austenite. Of course, I later learned that I was not in fact the number one Austen fan, and still had much to learn about my beloved author. 

But it doesn’t stop me from being somewhat protective over her work – especially when it’s a modernized adaptation (with the exception of Clueless – “as if”). For me, part of what makes Jane Austen’s writing so engaging is the commentary within her specific social context. So I admit I approached Modern Persuasion starring Alicia Witt, Bebe Neuwirth, Shane McRae, and Mark Moses with a mild bit of apprehension. I didn’t need it.

Set in the fast-paced New York world of Advertising and Public Relations, executive Wren Cosgrove (played by Alicia Witt) is cool, collected, and happy in her life. She loves her work and her bosses Grayson and Maxine (Mark Moses and Jenn Harris), her coworkers, and her loving but overprotective Aunt Vanessa (Bebe Neuwirth). Plus, her cat Wentworth (subtle nod to the source material). So, when ex-boyfriend and potential client Owen Jasper (Shane McRae) walks into her office, her world is turned upside down. What follows is a series of amusing and enjoyable moments of awkwardness – of the adorable kind – as Wren reconciles what she lost with what she hopes is still possible.

From their initial reconnection to subtle glances and misunderstandings to the final moment of “is it too late?,” Modern Persuasion is charming and vibrant. And I mean that literally – the colors in this film are bold and exciting and exactly what I need to close out this dark year. The personalities of the cast are just as bright, and they argue, flirt, create, and grow with one another effortlessly. The storyline stays true to the intent of the original but absolutely feels relatable. Our choices today can be just as influenced by circumstances, future goals, overbearing but well-meaning relatives, and our own fears as they were when Austen first wrote of Anne and Captain Wentworth. Lost loves and the “what-ifs” that haunt our memories aren’t bound by time. And neither is hope. 

I don’t know about you, but if there is one lesson I’m taking with me into 2021 it’s that staying connected needs to be intentional. From texting old friends to mailing Christmas cards for the first time in 12 years, I don’t want to leave my relationships to chance. Whether it is the person sitting next to me or someone who is only as close as my thoughts, I’m keeping Alicia Witt’s words close to my heart and will “remember in this crazy year of disconnection and uncertainty, we still have each other.” 

Modern Persuasion is now available digitally and on demand.

To hear our conversation with Alicia Witt, click here.