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JUDAS AND THE BLACK MESSIAH
2021, Warner Bros., 126 min, USA, Dir: Shaka King

FBI informant William O’Neal (LaKeith Stanfield) infiltrates the Illinois Black Panther Party and is tasked with keeping tabs on their charismatic leader, Chairman Fred Hampton (Daniel Kaluuya). A career thief, O’Neal revels in the danger of manipulating both his comrades and his handler, Special Agent Roy Mitchell (Jesse Plemons). Hampton’s political prowess grows just as he’s falling in love with fellow revolutionary Deborah Johnson (Dominique Fishback). Meanwhile, a battle wages for O’Neal’s soul. Will he align with the forces of good? Or subdue Hampton and The Panthers by any means, as FBI Director J. Edgar Hoover (Martin Sheen) commands? Inspired by true events.


WIDOWS
2018, 20th Century Fox, 128 min, UK/USA, Dir: Steve McQueen

From Academy Award-winning director Steve McQueen (12 YEARS A SLAVE) and co-writer and best-selling author Gillian Flynn (GONE GIRL) comes a blistering, modern-day thriller set against the backdrop of crime, passion and corruption. WIDOWS is the story of four women with nothing in common except a debt left behind by their dead husbands’ criminal activities. Set in contemporary Chicago amid a time of turmoil, tensions build when Veronica (Oscar winner Viola Davis), Linda (Michelle Rodriguez), Alice (Elizabeth Debicki) and Belle (Cynthia Erivo) take their fate into their own hands and conspire to forge a future on their own terms. Co-starring Liam Neeson, Colin Farrell, Robert Duvall, Daniel Kaluuya, Lukas Haas and Brian Tyree Henry.


ON CHESIL BEACH
2017, Bleecker Street Media, 110 min, UK, Dir: Dominic Cooke

Adapted by Ian McEwan from his bestselling novel, this drama centers on a young English couple in the summer of 1962. Florence Ponting (Saoirse Ronan), born into a prosperous, conservative home presided over by her overbearing father (Samuel West) and mother (Emily Watson), falls in love with Edward Mayhew (Billy Howle) whose chaotic but loving upbringing by a schoolteacher father (Adrian Scarborough) and brain-damaged artist mother (Anne-Marie Duff) stands in stark contrast. Following Florence and Edward through their idyllic courtship, the film explores sex and the societal pressure that can accompany physical intimacy, leading to an awkward and fateful wedding night.


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