Seventh Row is a nonprofit Canadian film criticism publication and publishing house. We're dedicated to helping you expand your horizons by curating the best socially progressive films from around the world and helping you think deeply about them. This newsletter is run by Seventh Row (http://seventh-row.com) but features exclusive content not found on the website.
A queer South African stunner — available till June 2
|
Hello Reader, We just wrapped the second live Reel Ruminators convo for this month’s film — a special extra we added for May — and both were so rich in different ways. In the first session, we dug into a scene that’s just three minutes long — but it absolutely knocked me out. The sound design. The tenderness. The way it holds so much in so little time. Whether or not it came up again in the second convo (you’ll see!), that’s part of what makes this experience so meaningful — the chance to revisit, reframe, and deepen your relationship to the film through multiple lenses. If you join before June 2, you’ll get access to:
This month’s pick is a gorgeously shot queer film from South Africa, directed by someone I genuinely believe is one of the most important filmmakers under 50 working today. The cinematography is breathtaking — and it’s not just me saying that. The film was BAFTA-nominated and earned three BIFA nominations, including for cinematography and direction. But this isn’t just a technically beautiful film — it’s politically sharp and emotionally layered. It explores a part of South African history that even its South African director wasn’t familiar with before making the film — and it does so with rare clarity about how homophobia and white supremacy are rooted in the same impulse: punishing difference to maintain power. I know I sound like a broken record — “this film is incredible, this director is one to watch” — but when you only pick 12 a year, the bar is high. And this one clears it. The director’s latest just premiered at Cannes (featuring two actors we’ve talked about a lot on Seventh Row 👀). This earlier film? It’s the one to catch now, before the buzz builds. 🎟️ Want in before we roll into next month? or Join now 🔄 Quick tech note: Our system may indicate that your membership renews “in one month,” but everything will refresh on June 2. You can cancel anytime before then (even right after joining), and you’ll still have full access through June 2. Stay for June, and you’ll also keep access to everything from May. Alex |
Seventh Row
Seventh Row is a nonprofit Canadian film criticism publication and publishing house. We're dedicated to helping you expand your horizons by curating the best socially progressive films from around the world and helping you think deeply about them. This newsletter is run by Seventh Row (http://seventh-row.com) but features exclusive content not found on the website.
Some films change every time you rewatch them — not because they shift, but because you do. The mark of a great film is that it can meet you again — and offer more. Not just because your perspective has changed, but because the film is rich enough to hold what you couldn’t yet see. This year marks the tenth anniversary of Andrew Haigh’s 45 Years — and we’re celebrating it on the podcast because it’s one of the best films of the century. I’ve watched it at least once a year over the past...
Hello Reader, This week on the podcast, I’m digging into Celine Song’s new film, Materialists, which asks: Is love enough when money is tight? It’s got plenty going for it (that cast! that blocking!), but also tiptoes around the class and money dynamics it sets up. In this episode, I get into where it works, where it falls short, and how it stacks up next to films and shows that explore similar territory (Gossip Girl, Mansfield Park, and more). A few spoilers ahead, especially when I get into...
Hello Reader, What do a British political thriller, an Indigenous Canadian documentary, and a queer South African drama have in common? Honestly… I wasn’t sure at first either. I programmed them inside Reel Ruminators because they were different: crossing genres, continents, and perspectives. And yet, in hindsight, I realized they were all circling some of the same big questions. Watching and thinking about one film changed how I watched and thought about the others. And I have an inkling...