ScreenFish

where faith and film are intertwined

Disney+

7.24 Resurrecting BLACK WIDOW

by Leave a Comment

With the release of Marvel’s BLACK WIDOW, one of the original Avengers finally gets to tell her own story. On the run from the military, Natasha Romanoff (Scarlett Johansson) is suddenly drawn back into there old life in order to wrestle with the darkness of her past. This week, the Marvel-ous team of Heather Johnson, Miriam Ibrahim and Dina Hamdieh reassemble to talk about the importance of diversity in our superhero stories, the toxicity of abuse and the relevance of hair.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify, Google Play or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

7.24 Black WidowDownload

7.23 Living la Vida LUCA

by Leave a Comment

Set against the Italian Riviera, Pixar’s LUCA tells the story of a young merman as he steps into the surface world for the first time. With his friend Alberto, young Luca experiences a whole new world of adventure, pasta and endless Vespa rides. However, when the world discovers that sea monsters exist, so to does the pressure for the boys to remain hidden, out of fear for their lives. This week, ScreenFish’rs Heather Johnson and Alan Sharrer return to talk about Disney’s tendency to play it safe and the relationship between fear and knowledge.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify, Google Play or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

7.23 LucaDownload

Black Widow: Good Hair is a Game Changer

by Leave a Comment

Do I even have to put a SPOILER WARNING here? Because we will be talking about Black Widow, so…yeah…potential spoilers.

I have short hair. Most days I can leave it down and it doesn’t cause any distractions or issues with my day-to-day activities. But, if I’m going to be doing things like cleaning or travelling, I’m going to somehow put it back out of my face and out of the way. The last thing I want to worry about when I’m active is my hair.

Can you imagine fighting to take down the universe’s most terrifying and powerful villains with your hair in your face? Because pretty much until Endgame and this movie, our mightiest female heroes have worn their hair down. And if you’re wondering why I care about this so much, let me explain. But first, a brief summary of where we are now that Black Widow has released.

Eleven years after her first appearance in Iron Man 2, Natasha Romanoff (Scarlett Johansson) is finally getting her story. Set between the events of Captain America: Civil War and Avengers: Infinity War, Black Widow shines the light on the shadows that have been Natasha’s elusive past. We’ve gotten some brief glimpses into her Russian training and connections and we’ve seen hints to the emotional burdens she wears. Since we can’t go back to the very beginning of her story, I wasn’t sure how we were going to see the path between who Natasha was, and who Natasha now is to us.

As she begins her time on the run after breaking the Sokovian Accords, Natasha is pulled back into a mission she long-believed was handled. She describes Budapest (an event she and Hawkeye (Jeremy Renner) recall during the first Avengers), as the final step to her defection to S.H.I.E.L.D., effectively finalizing the cleansing of the “red in her ledger.” But she was wrong. A mysterious package arrives at her safe house with a clue about who needs her and she has to seek out the very people she once felt betrayed by.

In the later movies, Natasha thinks of the Avengers as her only family. But we quickly learn here that she once had a sister, a mother, and a father. Even though it was artificially made as a cover for a covert Russian operation, there were a few years where Natasha had a normal life. But it was not to last.

Her “father” was actually Alexei Shostakov (David Harbour) aka Red Guardian aka Russian Captain America. He and brilliant scientist and fellow Widow (and “Mom”)  Melina (Rachel Weisz) had Natasha and “sister” Yelena (Florence Pugh) under their wing until the time came for the girls to begin their training at the Red Room. Together they must work to finish the mission Natasha started all those years ago.

The target? One of the creepiest villains I’ve seen in the MCU yet, Dreykov (Ray Winstone makes him almost TOO real). Mastermind behind the Red Room – an elite training facility that transforms orphan girls into world-wide assassins that work to keep Dreykov in power over the world’s most influential leaders – Dreykov has perfected a mind-control serum with Melina’s genius that ensures his Widows will deliver on his every command. He exploits both their vulnerability and sexuality and rewrites their reality – until Yelena defects and Natasha jumps in to free the Widows from Dreykov and destroy the Red Room for good.

How does any of this lead into a conversation about hair. Well, let’s think about it. For one, Black Widow’s hair has been a topic of conversation since Johansson brought her to life on the big screen. People complained it was too short, it was too long, it was too curly, it was too straight, it went blonde, etc. Here we have someone who regularly takes out pretty scary and powerful enemies, and we are talking about if her hair is right to the character. Dude – I just always wanted to know why it was down? In Endgame, we finally see her hair up for most of the movie, maybe because in space it’s more acceptable? Or because the scene had been set for years’ worth of searching for ways to undo all that Thanos had destroyed, and suddenly it didn’t matter? For whatever reason, I was thrilled to see exceptionally powerful women go into full battle mode with their hair up in Black Widow.

The contrast between Yelena wearing her hair up from the beginning but Natasha evidently having had to take a journey for it to be acceptable to wear her hair up is hopefully a glimpse into the future treatment of female super heroes in the MCU. Yelena has the same sarcastic wit of Captain Marvel, the same desire for what was fake to be real as Wanda, and the same moral compass of Gamora’s change of heart. She is set up to take on the mantle of Natasha and she’s not here to play games. And as silly as it’s going to seem to people, seeing her with her hair up throughout the film gives me confidence that female superheroes are being equipped to fight the same battles as their male counterparts. In continuation of illustrating this point, I give you the original Avengers:

  1. Captain America. Helmet. I don’t know how effective it is but it’s there. And he’s enhanced.
  2. Iron Man. Obviously. And he’s enhanced.
  3. Thor. Yes his hair is down but he can also fly and call lightning to his very hands. And he is a god.
  4. Bruce Banner. One word: Hulk. And he’s enhanced.
  5. Hawkeye. No head covering, but he mostly fights from a distance…because you know, #bowandarrows.

Captain Marvel had a helmet and a much more protective suit but, to this day, people condemn her character – even though she has been the closest one to receiving equal treatment. And she’s enhanced. Natasha fights on the ground, hand-to-hand, and her hair is curled and flowing the whole time. Now I don’t know much about the comics, but, as an average movie-watcher, it’s always bothered me. So forgive me if such a trivial detail has had such an impact on me. Because it demonstrates strength. And it’s just one piece of how Black Widow successfully created a storyline laced with vulnerability in such a way that made the women stronger as opposed to needy. Hair down to hair up is a key element of this transformation.

For years, Dreykov (Ray Winstone and one of the creepiest villains-to-date) exploited the emotional vulnerability and the sexuality of orphaned and discarded girls and controlled them in order to maintain his power over the world’s most influential leaders. We know this because we have seen Natasha use it in previous films, whether she is using staged modelling photos to distract Tony from her identity or secretly interrogating Loki by using her past as a tool to get what she wants out of him. She was trained to do that, and so were the hundreds of Widows trained after her. The ponytail, the braids, even the earrings…all of them work together as a visual representation of the strength of these women to do what needs to be done. In Black Widow, they are being freed from the constraints of how they have been viewed and used by those around them.

And for me at least, it’s about dang time. If I’m not going to clean with my hair in my face, I sure as heck ain’t saving the world with it in my face. And now my heroes don’t have to either.

Black Widow is now available in theatres and on Disney+.

Black Widow: Spinning Her Own Web

by Leave a Comment

Marvel makes movies.

Of course, you could be forgiven if you’d forgotten this. With the recent push to extend the MCU into the world of streaming with buzzy series like WandaVision, The Falcon and the Winter Soldier and (now) Loki, it might seem like they’d forgotten about their status as the Crown Jewel of the Box Office.

Even so, while this heavy emphasis recently may have been (partially) inspired by the lack of movie screens during the pandemic, Marvel refused to budge on the release of Black Widow. For Kevin Feige, the intent was always to bring people back to theatres with a bang. So, we saw release dates pushed back further and further. (So much, in fact that there are 4 films coming in the next 6 months…)

Now, with the release of Black Widow, we can finally see why.

Immediately following the events of Captain America: Civil War, Black Widow follows Natasha Romanoff (Scarlett Johansson) as goes out on the run. Hunted by the US government, she takes a step into her old life with the hope of disappearing into the night. However, when Romanoff is forced to confront a dangerous conspiracy with ties to her past, she must re-assemble the estranged members of her family and deal with her own broken story in the process.

Directed by Cate Shortland, Black Widow is absolutely something to behold. Part James Bond and part Mission: Impossible, Widow is a globe-trotting adventure that gives Widow her due. In Black Widow, Johansson steps out on her own with a film that takes itself more seriously than many other films in the MCU. Anchored by a solid script by Jac Shaeffer and Ned Benson and some marvelous action scenes, it’s easy to see that the ‘cinematic’ side of the MCU is where they believe their emphasis (read: money) lies. In Black Widow, set pieces simply feel… bigger. Avalanches crash, floating buildings fall, and motorcycles rumble through the streets of Budapest in scenes that are are absolutely eye-popping. When compared to WandaVision’s climatic magic snowball fight or Falcon’s final showdown, it’s clear that these are action sequences are designed to be experienced on the big screen.

Of course, the greatest victory in the film is that it finally gives Johansson a chance to shine without the help of her fellow men in tights. (“I’m better on my own,” she argues.) Whereas Widow’s other appearances in the MCU have either sexualized her (Iron Man 2) or forced her into various relationships with other Avengers (Captain America: The Winter Soldier, Avengers: Age of Ultron), Widow portrays her character every bit as heroically and confidently as her super co-workers. (In fact, several of the film’s best jokes are at the expense of her previous portrayals.) Here, Romanoff is depicted with intelligence, strength and—most importantly—individuality.

Although it has a global scale, the film itself feels very personal and, surprisingly, small in its scope. In other words, this is not a film where the fate of the world is at stake but instead focuses on Romanoff herself as she attempts to work out the traumatic events of her past. Though it has been referenced in previous films, much of her history has only been mentioned in brief segments, such as ‘Budapest’ or ‘having her surgery’. While Natasha’s rage has been the motivating factor for her character, the MCU has never taken the time to properly explore it.

With Widow though, Romanoff finally has the opportunity to face the demons of her past. By reconnecting with her ‘family’, she begins to navigate the complex nature of their relationships. By revisiting her old life, she has a chance to reconnect with the story that made her the invaluable member of the Avengers that she has become.

Then, of course, there’s the Red Room itself.

Having been moulded from childhood into a weapon by the Red Room, Romanoff has long spoken of the fact that she’s got ‘red in her ledger’. Although she has managed to walk away from the psychological torture of the Room, she still remains somewhat controlled by its abuse. Without any spoilers, there remains shadows in her mind that continue to haunt her. As a result, Black Widow is a film that is very much about reclaiming power and control. By confronting the Room, however, Romanoff has the opportunity to finally do battle with that evil influence and release herself (and potentially others) from it in the process. 

For her first (and I think it’s fair to expect more) solo adventure, Black Widow is wildly entertaining. Fueled by heart, humour and action, the film has the style and scope that you would expect from Marvel without ever losing its soul. Most importantly though, Widow finally gives Johansson the starring vehicle that she deserves and sets a standard for female-led superhero films moving forward.

Black Widow is available on in theatres and on Disney+ on Friday, July 9th, 2021.

Luca: Finding Your Way (With Some Help)

by Leave a Comment

“Just follow my lead . . . I know what I’m doing.”

One of the strangest books that I’ve had the opportunity to read involved a seaside town, romance, swashbuckling feats, and unique creatures not indigenous to the local population. It was also a parody.  Entitled Sense and Sensibility and Sea Monsters by Ben Winters, it’s exactly what Jane Austen would’ve penned at her desk if she had a penchant for the macabre. There’s little to say about the plot that isn’t given in the title, so I’ll spare you the details (except that Leviathan makes an appearance). 

Thankfully, Pixar’s latest film Luca does not go the way of Winter’s book. It tells a tale of three kids who, in many respects, find their way in life—except that two of them are also sea monsters.  It’s an interesting concept and is both cute and touching at times.  However (and it pains me to say this as a Pixar aficionado), it’s quite disjointed and misses a great opportunity to dive deep into some relevant issues of our time.

Outside the Italian town of Portorosso lives a family of sea monsters—Daniela (voiced by SNL regular Maya Rudolph), Lorenzo (comedian Jim Gaffigan), Grandma (Sandy Martin), and Luca (Jacob Tremblay).  They’re preparing for an upcoming craft show, so Luca is left to tend to a school of fish that act like sheep.  While doing so, he comes across an alarm clock and other items from above water.  Another monster named Alberto (Jack Dylan Grazer) takes then from him, and when Luca follows him, he suddenly finds himself on a beach, transformed into a human being (not unlike Daryl Hannah in the 1980’s film Splash).  It seems this class of sea monsters has the ability to transform into humans if there’s no water on their bodies.

Alberto lives in an old castle turret where he’s kept all of his collected human items, including a poster of a Vespa. Since neither is familiar with the ways of land dwellers, they believe they can create their own Vespa out of the collected items and run away from their past (Luca’s parents are ultra-constricting, which doesn’t make matters any better). They visit Portorosso and nervousness sets in for Luca—will he be outed as a sea monster?

When they actually see a real Vespa, they naturally gravitate to its owner, Ercole (Saverio Raimondo), who promptly dismisses them with insults. Their saving graces are a girl named Giulia (Emma Berman) and an annual competition of swimming, pasta eating, and bike riding that Ercole has won five consecutive years.  Giulia has tried in the past, but pasta and bike riding don’t always pair well—especially when accomplished back to back.  Luca and Alberto offer to help her win, so she invites them over for dinner.  Her father, Massino (Marco Barricelli), has only one hand but loves to go after sea monsters (he also looks a lot like the father in the Pixar short “La Luna” [2011]).  While this plays out, a sweet friendship between Luca and Giulia begins to bloom, leaving Alberto in the cold. Meanwhile, Daniela and Lorenzo enter town, take on human form, and realize that if they get a sea monster wet, they can find their runaway son.

Will Alberto and Luca be discovered as sea monsters?  Will Giulia finally defeat Ercole in the Portorosso Cup?  Will Ercole act like a smarmy, entitled jerk that has created a pseudo-Mafia to make things happen? Will something come of the friendships between the three kids? The answers come in typical Pixar form with a few minor surprises thrown in for good measure.

Although I think Luca is a fine film with a familiar animation style and a fantastic soundtrack, something’s off this time around. The plot is a bit simplistic and bounces from point to point with minimal connections. The Vespa sequences and Daniele and Lorenzo’s parental mission to dump water on every child of Portorosso get old after a while.  However, the biggest issue with Luca involves the wasted opportunities to go deep on subjects such as hiding from one’s dreams, running away from life, the monsters inside each of us, and parental overprotection.  As a result, director Enrico Casarosa’s film feels limited, sort of like the cramped streets of Portorosso itself. An additional five or ten minutes may have made the difference. 

Two things stuck out to me while watching. One: the cat Machiavelli is a scene-stealer. Two: the sheer unlikability of Ercole surprised me. He acts like he runs the town, but nobody ever calls him out for his attitude, sarcastic comments, and brazen lying (he’s too old to compete in the Portorosso Cup yet is still allowed to compete). However, his omnipresence makes any success by the protagonists that much sweeter.

It is important not to discount the emphasis that Luca places on the value of friendships and helping others find their way. Simply put, Luca would’ve never grown had he visited his Uncle Ugo (Sacha Baron Cohen) and disappeared into the black netherworld of deep water. Instead, he had Alberto and Giulia along for the ride.  A proverb states, “As iron sharpens iron, so one person sharpens another” (Proverbs 27:17 NIV); this certainly proves to be the case with each transforming the others into something better by the end of the movie. Trying to go through life alone isn’t the answer; letting people come alongside to cry, comfort, and cheer with and for us adds a richness and depth to draw from in challenging times. In many ways, this is what salvages the film for me.

Well, that and a few plates of Massino’s pasta.

Luca is available in theaters and Disney+ as of June 18,2021

Loki: ReWriting Our Future

by Leave a Comment

Is anybody better at bringing people back from the dead better than Marvel?

Whether its Phil Coulson reappearing in Agents of S.H.I.E.L.D. or Natasha Romanoff receiving her first solo film posthumously (albeit as a prequel), Marvel knows how to maximize the characters that fans have grown to love, even after their apparent deaths. Now, after his ‘no more tricks’ fate in Endgame, Loki returns in his own series which promises to have a major impact on the future of the MCU. 

Directed by Kate Herron, Loki begins during the events of Avengers: Endgame and sets the beloved anti-hero off on his own adventure. After escaping from the Avengers and crashing down in Mongolia, Loki (Tom Hiddleston) is arrested by the Time Variant Authority (TVA), a bureaucratic organization tasked with maintaining the consistency of time itself. Because of his actions, Loki is charged with disrupting the primary timeline and sentenced to being ‘erased’ from time itself… that is, unless he helps Agent Mobius (Owen Wilson) to capture an even greater threat to the universal timeline.

After The Falcon and the Winter Soldier sought to challenge their audience, so too did they also lose the ‘appointment television’ vibe that made WandaVision such a success. Loki should change that. Instead of focussing on the weight of social issues or effects of grief, Loki provides a much-needed dose of levity back into the MCU. With an emphasis on fun and humour, Herron has created a series with a tone far closer to the wildness of Guardians of the Galaxy than the gravitas of The Falcon and the Winter Soldier. Fueled by wit and silliness, Loki has a comedic energy to it that is sure to excite fans of the franchise. (Though, it’s worth noting that the first episode is exposition-heavy as the series must explain the existence of an entirely different layer of reality that’s been added to the Marvel canon.)

Without question though, the centre of the show remains Hiddleston. After all these years, Hiddleston is more than ready to step into the limelight as his charisma has elevated the role from standard villain to one of Marvel’s most adored characters. (Has it really been 10 years since he first put on the horns?) Due to the time travel element to Loki, Hiddleston brings the character back to his more mischievous origins and clearly relishes the opportunity to bring back Loki’s shades of grey. What’s more, the casting of Wilson as Agent Mobius also provides a suitable foil for Hiddleston. Known for his more innocent charm, Wilson uses his likeability to balance out Loki’s more menacing humour and the two are instantly one of Marvel’s more likeable duos.

With the inclusion of the TVA, the Marvel universe has changed drastically. With the multiverse beginning to come into play, a realm such as the timestream has huge implications for the franchise moving forward. This is a place where ‘time moves differently’, superhuman abilities are rendered useless and Infinity Stones are literally used as paperweights. (The TVA is also the first official mention of the ‘Nexus’ after WandaVision’s famed commercial segments.) 

Of course, this sort of environment is both stunning and enticing to Loki himself. As he marvels (see what I did there?) at their unbelievable power, Loki is forced to realize how small he may truly be. In this world, time is sacred and the TVA are sworn to protect it from those who would dare to change it. As such, Loki is arrested because his escape was not ‘supposed to happen’, even if the Avengers can seem to pull it off without prosecution. (After all, their transgressions were supposed to take place…) In doing so, the series suggests that every character or person has a lane by which they much adhere. Villains are going to be villains. Heroes will save the world. For the TVA, there is little room for improvisation and everyone must behave as they’re expected to behave. 

However, at the same time, the series offers somewhat of a paradox. (That’s shocking for any time travel series, I know.) While Loki is branded a criminal for his decision to break the timestream, he is also offered the chance to make it right. Instead of seeing him solely as a villain, Mobius sees him as something more and suggests there may be another way. (“I can’t offer you salvation but maybe I can offer you something better,” Mobius says cryptically.) To Mobius, Loki’s criminal history does not negate him but instead highlights his craftiness and ingenuity and could provide a new direction for his life.

For Mobius, Loki’s future is not bound by his past.

With a return to its more mischievous tone, Loki is a welcome return to form for the MCU. With Loki, Herron, Hiddleston and Wilson have created a world of limitless potential that should be an instant hit with fans. It’s always most fun when Marvel takes risks and, while Loki doesn’t exactly stray from the style that has made them a juggernaut, it does provide its most unique character with a whole new box of toys to play with. 

Loki is available on Disney+ on Wednesday, June 9th, 2021.

7.20 Sympathy for CRUELLA De Vil

by Leave a Comment

In Cruella, Emma Stone brings the backstory of one of Disney’s most famous villains to life. Well before there were 101 Dalmatians, Cruella De Vil was an aspiring fashion designer. However, when she matches wits against the (even more) evil designer, The Baronness (Emma Thompson), Cruella and her friends Jasper and Horace must scheme to bring down London’s queen bee. This week, Allen Chabot, Mira Ibrahim and TeenFish’ Daniel Collins return to talk about having sympathy for our villains and walking the line between redemption and revenge.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

7.20 CruellaDownload

7.19 Diverse Heroes in THE FALCON AND THE WINTER SOLDIER

by Leave a Comment

With the release of The Falcon and the Winter Soldier, Marvel finally begins to grapple with one of the most pertinent questions after Avengers: Endgame: Who will take on the shield of Captain America? However, at the same time, the latest series on Disney+ also tries to delve into the much larger issues of American history and racial inequity. This week, Seun Olowo-Ake and Heather Johnson return to tackle questions regarding murky morality, the importance of new perspectives and the battle for the American soul.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

7.19 The Falcon and the Winter SoldierDownload

Cruella: When Black and White Turns Grey

by Leave a Comment

Bold. Complex. Mesmerizing.

And, by far, the best Disney live action yet.

Yes, I am talking about Cruella with Emma Stone and Emma Thompson. Not one who typically flocks to live action Disney features (call me too sentimental for my 90’s animated favorites), this movie blew every expectation out of the water. The tapestry of this story weaves together color, creativity, and character development in such a way that every moment kept me engaged. I’m still sitting here with my mouth agape as I play it all back in my head.

Set against the backdrop of 60’s and 70’s London, young Estella works to be the good girl that her mother encourages her to be. With her uncanny style, unfiltered opinions, and explosive personality, playing nice isn’t exactly second nature to her. But for the sake of the mother she loves, Estella (Emma Stone) navigates both trauma and genius to stay as she is, until Cruella fully emerges from the depths in retaliation of a painful truth. Consumed with taking out her former mentor and now-enemy the Baroness (Emma Thompson – absolutely perfect), Cruella subverts the Baroness’s grip on the London fashion scene with a rock star edge and in-your-face theatrics. With the help of long-time partners in crime, Jasper (Joel Fry) and Horace (Paul Walter Hauser) and a team of nonconforming designers including Artie (John MCrea), Cruella is on the precipice of being unstoppable. But will she survive her own ambition and vengeance?

As an origin story, the set up for the characters and storyline of 101 Dalmatians is well-placed and subtle. Anita and Roger fade in and out just enough to play key roles without overshadowing the heart of this story. We get to the root of Cruella’s obsession with dalmatians, and Jasper and Horace are elevated to relatable characters as opposed to bumbling second-rate thieves.

But this movie has its own heartbeat – one that loves and bleeds – and Stone’s performance is the soul of the film. Her transformation from Estella into Cruella kept me in a state of “is she or isn’t she” the unfeeling villain we’ve seen before now. Against the backdrop of the statement black and white color scheme, there was a grey in-between for me. Behind every villain there is a beginning, and that beginning isn’t always evil. And the other side of that coin is that behind every hero, that beginning isn’t always benign. Morality can get murky depending on a variety of factors and influences, and Cruella really hit that point home.

It’s an exceptional film with layers of development, visualization, ambition, and even heartbreak. And it’s a testament to both the writers and the cast that with every turn I was invested in characters that I’m supposed to define as “bad guys.” Did I close my laptop ready to absolve them of them crimes? No. But did it remind me that our stories are rarely as black and white as we think? Definitely.

Cruella opens in theaters and is available with Disney+ Premier Access on Friday May 28th, 2021.

Launchpad – Disney’s Gift of Shorts

by Leave a Comment

I’m always happy to promote short films as part of the entertainment landscape. Often the only chance people get to see shorts is at film festivals or during the Academy Awards season. But now Disney has created a program of live action shorts streaming on Disney+ called “Launchpad”. Disney describes the goal of “Launchpad” as “to diversify the types of stories that are being told and to give access to those who have historically not had it.” For their inaugural series they have chosen six filmmakers from underrepresented backgrounds. The theme for this set of shorts is “Discovery”. The films included in “Launchpad” range from 14 to 20 minutes.

American Eid, from Aqsa Altaf, tells of a Pakistani family that has recently moved to the US. It is seen through the eyes of the two daughters, one who is trying to fit in, the other seeking to hold on to the traditions that are meaningful to her (like getting out of school for the Eid holiday). This was my favorite of the strong field.

Dinner Is Served, from Hao Zheng, is the story of a Chinese student at a ritzy school who desires to be the dining hall maître d’. He sees it as being recognized for his abilities. But it may not be how others see it.

Growing Fangs, from Ann Marie Pace, is the story of a Mexican-American teen from a mixed marriage—human and vampire. She doesn’t fit in with her human friends and is afraid to let the monsters at her new school know the truth about her parentage. This is the film with the best humor and most imaginative concept.

The Last of the Chupacabras, from Jessica Mendez Siqueiros, is another light-hearted (but not without meaning) story. The last tamales cart vendor in LA discovers a Chupacabra in her yard after an earthquake. It’s not as terrible as legend suggests.

Let’s Be Tigers, from Stefanie Abel Horowitz, is the story of a babysitter who is trying to cover up the grief over the death of her mother. Of course, sometimes it can sneak up on you.

The Little Prince(ss), from Moxie Peng, tells of two Chinese school kids who become friends, but the father of one of the boys is taken aback by his son’s friend’s affinity for dolls, pink, and ballet.

All of these films allow us to see people discovering themselves. Most of them also deal with the tensions of culture and tradition—of holding true to one’s values while trying to fit into a world that may not have those same values. The discoveries that the characters make in these stories show that we can often affirm both worlds if we are willing to be honest with ourselves.

I will confess that I often look at Disney as a behemoth—a cinematic/business empire that takes what it wants and only cares for the bottom line. That allows them to make lots of movies we all love. But it also sometimes makes them seem like they like to throw their weight around. But “Launchpad” certainly does not fit that image. These shorts are a nice gift that Disney has given us. It not only gives us a chance to watch some shorts, it also is giving wonderful opportunities to filmmakers who have a hard time finding ways to tell their stories.

Photos courtesy of Disney