National Geographic debuts ‘No Taste Like Home With Antoni Porowski’

January 22, 2025

Antoni Porowski stands for a portrait. (Credit: National Geographic/Seong Joon Cho)

The following is a press release from National Geographic:

Every dish tells a story. National Geographic has released the trailer and key art for the mouthwatering new series NO TASTE LIKE HOME WITH ANTONI POROWSKI, set to premiere Feb. 23, 2025 on National Geographic and stream next day on Disney+ and Hulu. This tantalizing docuseries invites viewers to join culinary expert and Emmy® Award-winning star of “Queer Eye” Antoni Porowski as he guides celebrity guests on epic journeys to explore their ancestral gastronomic roots.
 
From the bustling streets of Italy to the lush jungles of Borneo, each episode promises an exploration of the rich heritage tied to beloved family recipes. With a star lineup that includes Emmy-winning actress Awkwafina (“A Real Bug’s Life,” “Awkwafina Is Nora From Queens”), SAG-nominated actor Henry Golding (“Crazy Rich Asians,” “The Ministry of Ungentlemanly Warfare”), Emmy-nominated actor James Marsden (“Paradise,” “Sonic the Hedgehog 3”), Academy Award®-nominated actress Florence Pugh (“We Live in Time,” “Dune: Part Two”), Emmy-nominated actress Issa Rae (“Insecure,” “American Fiction”), and Emmy-winning actor Justin Theroux (“The Leftovers,” “Beetlejuice, Beetlejuice”), the series serves up a delectable blend of food, culture and personal discovery.
 
“It’s a beautiful adventure to discover our past through the great connector that is food,” said Porowski. “I’m honored to go on this journey of self-discovery with new and old friends alongside National Geographic as we learn together about the ways different cultures celebrate food and experience their traditions.”
 
In each episode, Antoni and his guests uncover the unique stories behind cherished family dishes, such as the delicious origins of Theroux’s family pasta in Italy or the delectable flavors of Awkwafina’s Korean heritage. Along the way, they meet local travelers who share their own family stories and culinary traditions, culminating in a family meal that includes a classic dish from the region that will illuminate the beauty of each culture. From dining with royalty to off-roading 4x4s, each culinary adventure is filled with heartwarming moments, vibrant flavors, and surprising revelations that dive deep into the stories behind each guest’s ancestry.
 
Episodes include:
●  “FLORENCE PUGH’S ENGLISH ODYSSEY”
Premieres Feb. 23 at 9/8c
Antoni helps Florence explore the origins of her family’s passion for food as they travel through Oxford, the Yorkshire coast and London. Together, they encounter delicious dishes and discover stories of ancestors whose livelihoods set in motion this embrace of food that has transcended generations.


 
●  “AWKWAFINA’S KOREAN HOMECOMING”
Premieres Feb. 23 at 10/9c
Awkwafina lost her mother at a young age. Eager to help her reconnect with her South Korean culinary and ancestral heritage, Antoni curates a voyage of discovery filled with new experiences, family revelations, and evocative flavors, which combine to give Awkwafina a new perspective on her own identity.


 
●  “JUSTIN THEROUX’S ITALIAN QUEST”
Premieres March 2 at 9/8c
Seeking the origins of a family pasta dish, Antoni takes Justin on an Italian road trip full of delicious discoveries and surprising revelations. From chasing chickens to harvesting clams, they sample the region’s finest food and uncover how Justin’s Italian ancestry relates to a family dish that made its way across the Atlantic.


●  “JAMES MARSDEN’S GERMAN DISH UP”
Premieres March 2 at 10/9c
On the hunt for the origins of the Marsden family’s beloved chicken fried steak, Antoni takes James from the Texas plains to Germany. Together, they discover just how much the experiences of his German forebears have shaped James’ family history. While dining with royalty and scaling the Bavarian Alps, they unearth dramatic secrets behind James’ ancestors’ decision to emigrate.


 
●  “ISSA RAE’S SENEGALESE ROYAL ROOTS”
Premieres March 9 at 9/8c
Antoni takes Issa to her father’s homeland of Senegal, where they uncover ancestral stories of powerful women and royal connections. Through this culinary journey, Issa learns more about her family’s epic history and how it all relates to her own identity.


 
●  “HENRY GOLDING’S MALAYSIAN ADVENTURE”
Premieres March 9 at 10/9c
Antoni takes Henry to Borneo, where they unearth family stories and taste their way to a deeper connection with Henry’s mother’s Iban heritage. As they cook with long-lost family and newfound friends, Henry learns that genealogy in this oral tradition is about far more than storytelling.


 
Get ready for heartwarming stories, unforgettable flavors, and the joyous exploration of what it means to be connected to our past through food.
 
NO TASTE LIKE HOME WITH ANTONI POROWSKI is produced by Studio Ramsay Global, building on the prolific food programming relationship between Gordon Ramsay’s production outfit and National Geographic, a partnership rooted in creating four seasons of the award-winning food travelogue GORDON RAMSAY: UNCHARTED. As well as presenting, Porowski will executive produce the series alongside Ramsay and Lisa Edwards. The showrunner is Robin O’Sullivan, and the executive in charge of production is Jill Greenwood. The series is directed by Leo McRea, Jenny Dames and Graeme Hart. For National Geographic, Betsy Forhan is executive producer, Charlie Parsons is senior vice president of Development, Bengt Anderson is senior vice president of Unscripted Production, and Tom McDonald is executive vice president of Global Factual and Unscripted Content.

Review: ‘Beetlejuice Beetlejuice,’ starring Michael Keaton, Winona Ryder, Catherine O’Hara, Justin Theroux, Monica Bellucci, Jenna Ortega and Willem Dafoe

September 5, 2024

by Carla Hay

Winona Ryder and Michael Keaton in “Beetlejuice Beetlejuice” (Photo courtesy of Warner Bros. Pictures)

“Beetlejuce Beetlejuice”

Directed by Tim Burton

Culture Representation: Taking place in the fictional city of Winter River, Connecticut, the fantasy film “Beetlejuice Beetlejuice” (a sequel to the 1988 movie “Beetlejuice”) features a predominantly white cast of characters (with a few Latinos and some African Americans) representing the working-class, middle-class and wealthy.

Culture Clash: Troublemaking and wisecracking demon Beetlejuice returns from captivity to stop the wedding of his would-be bride Lydia Deetz, a psychic who can see ghosts, while Lydia tries to repair her strained relationship with her daughter, and Beetlejuice is being hunted by his vengeful former bride. 

Culture Audience: “Beetlejuice Beetlejuice” will appeal primarily to people who are fans of the the first “Beetlejuice” movie, the movie’s headliners, director Tim Burton, and anyone who likes watching high-energy movies that are comedic supernatural stories.

Catherine O’Hara, Jenna Ortega, Winona Ryder and Justin Theroux in “Beetlejuice Beetlejuice” (Photo by Parisa Taghizadeh/Warner Bros. Pictures)

“Beetlejuice Beetlejuice” comes very close to being overstuffed with subplots, but they all tie together in the end. This flawed but energetic sequel to 1988’s “Beetlejuice” has enough supernatural fun to charm new fans and existing fans. Do viewers need to see the first “Beetlejuice” movie to understand “Beetlejuice Beetlejuice”? No, but it certainly helps, especially in noticing many of the references to the first “Beetlejuice” movie that are in “Beetlejuice Beetlejuice.” These references (also known as Easter eggs) can be considered shameless fan servicing, but most sequels of hit movies are guilty of pandering to die-hard fans.

Directed by Tim Burton, “Beetlejuice Beetlejuice” was written by Alfred Gough and Miles Millar, who are both collaborators with Burton on Netflix’s “Addams Family” spinoff series “Wednesday.” Michael McDowell and Warren Skaaren wrote the first “Beetlejuice” movie, which was directed by Burton. Neither movie is perfect, but both movies have appeal to people who like movies that combine Gothic sensibilities with goofy comedy. “Beetlejuice Beetlejuice” has many more characters (almost too many) compared to the first “Beetlejuice” movie, but the visual effects in “Beetlejuice Beetlejuice” are a vast improvement over the cringeworthy and tacky visual effects in “Beetlejuice.” The makeup in Beetlejuice” was superb though, which is why the movie won an Oscar for Best Makeup.

The original “Beetlejuice” movie has a simple plot: The ghosts of a married couple named Adam Maitland (played by Alec Baldwin) and Barbara Maitland (played by Geena Davis) try to get rid of the wealthy new family who have moved into and renovated the Maitlands’ former house in the fictional city of Winter River, Connecticut. The house’s new residents are former real estate developer Charles Deetz (played by Jeffrey Jones); his pretentious sculptor/conceptual artist wife Delia Deetz; and their Goth psychic teenage daughter Lydia Deetz (played by Winona Ryder), who is the only one in the family who can see ghosts.

The house is isolated and sits on a hilltop, which is why there are no neighbors who notice the strange activity taking place in the house. The Maitlands reluctantly enlist a troublemaking and wisecracking ghost demon named Betelgeuse (played by Michael Keaton) to try to get rid of the Deetz family. Betelgeuse becomes enamored with Lydia and wants to marry her. Betelgeuse (who lived and died as a human sometime in the 1300s) appears when his name is said three times in a row. There’s an entirely different discussion that could be had about how inappropriate it is for Betelgeuse to marry an underage teen, but it underscores how much of a creep Betelgeuse is and how he comes from an era when it was considered normal to marry someone who is 15 or 16 years old.

In “Beetlejuice Beetlejuice,” Lydia (also played by Ryder) is now a single mother who is the famous host of TV series called “Ghost House With Lydia Deetz,” where she helps people who say they have haunted houses. It’s mentioned that Lydia has been a professional psychic for the past 15 years. Lydia is a pill-popping neurotic who has been dating her manager Rory (played by Justin Theroux), who is an obviously slimy manipulator pretending to be sensitive and caring. Rory not only enables Lydia’s drug abuse, but he also encourages it.

Lydia uses pills to cope with her personal life being a mess. She barely speaks to her parents. Lydia also doesn’t have much of a relationship with her teenage daughter Astrid (played by Jenna Ortega, star of “Wednesday”), who is bitter because Astrid thinks Lydia cares more about her career than Lydia cares about Astrid. Lydia was separated from Astrid’s father Richard (played by Santiago Cabrera) when Richard died in a drowning accident.

Astrid, who is about 16 or 17, is a student at a boarding school, where Astrid is a loner who is treated like an outsider freak because of what Lydia does for a living. There’s a scene where some “mean girls” have vandalized Astrid’s room by putting up a paper ghost in the room that says “Boo.” Astrid is highly intellgent and well-read, but she has a lot of anger toward Lydia. Astrid thinks Lydia is a fraud because Lydia cannot see the ghost of Astrid’s father Richard.

One day, Lydia gets a frantic phone call from her mother Delia, who tells her to come to Winter River immediately. That’s how Lydia finds out that her father Charles died. His plane crashed over the South Pacific, and he was killed by a shark. In real life, “Beetlejuice” co-star Jones, who played Charles, got arrested in 2002 for child porn. Jones is now a registered sex offender, which is probably why he wasn’t asked to be in “Beetlejuice Beetlejuice,” which uses animation, visual effects and archival footage of Jones to depict Charles in the movie.

Lydia feels uncomfortable with returning to Winter River, because it brings back bad memories of Betelgeuse, whose name is now spelled Beetlejuice in this sequel. (“Beetlejuice Beetlejuice” was actually filmed in the United Kingdom, Vermont and Massachusetts.) Astrid and Rory also go to Winter River to attend Charles’ funeral. Delia and Astrid don’t really know each other but they do have one thing in common: They both despise Rory.

To the horror of Delia and Astrid, Rory uses Charles’ memorial service to propose marriage to Lydia—and he wants to get married in Winter River on Halloween, which is two days after this marriage proposal. Father Damien (played by Burn Gorman), the priest to led the funeral service, has been enlisted to officiate at the wedding. Lydia wants more time to think about Rory’s marriage proposal. However, Rory makes her feel guilty, so she reluctantly agrees to this hasty wedding. Lydia is also seeing some indications that Beetlejuice might be coming back into her life.

Meanwhile, “Beetlejuice Beetlejuice” explains from the beginning that Beetlejuice has been trapped in an afterlife purgatory. In his previous life (when he was alive), he was a grave robber who married a femme fatale named Delores (played by Monica Bellucci), the leader of a soul-sucking cult. Beetlejuice left Delores, but the ghost of Delores wants to get back together with Beetlejuice by any means necessary to marry him. An early scene in the movie shows Delores putting her sliced body back together, with her restored body in stitches.

Beetlejuice has several mute minions with shrunken heads who wear the same type of striped suit that he does. His most loyal and rusted minion is named Bob. “Beetlejuice Beetlejuice” has a lot of scenes with these minions that might remind people of how the “Despicable Me” animated movies use their own minion characters for anti-hero/supervillain Gru.

One of the biggest comedic gags in the “Beetlejuice” movies is an afterlife waiting room, where recently deceased people wait to get checked in to travel to heaven, hell or somewhere in between. The ghosts appear exactly as how they looked when they died, which means many of these ghosts are mutilated or deformed if they died gruesome deaths. Near the beginning of “Beetlejuice Beetlejuice,” Danny DeVito has a quick cameo as an unnamed janitor in this afterlife waiting area.

It’s in this waiting area, there’s an Afterlife Crimes Unit led by a pompous ghost named Wolf Jackson (played by Willem Dafoe), who was an actor when he was alive. Wolf was an actor who was best known for playing a police detective named Frank Hardballed. As a ghost, Wolf still likes to pretend that he’s a real cop. He takes it upon himself to lead team that is looking for Delores, the chief suspect in a spree of murders where people’s souls have been sucked out of them.

And there’s even more going on in this plot: After Lydia accepts Rory’s marriage proposal, a disgusted Astrid storms off on her bicycle. Astrid accidentally crashes through a fence and tumbles into a backyard tree. The tree has a treehouse, where teenage Jeremy Frazier (played by Arthur Conti) happens to be when Astrid has her bike accident.

You know what happens next: Jeremy and Astrid, who are both about the same age and are intellectual loners, have an immediate attraction to each other. But what will happen to their relationship if Astrid is only going to be in Winter River for a few days? There are some twists and turns in “Beetlejuice” which have some surprises that are more unpredictable than others.

“Beetlejuice Beetlejuice” has some nostalgic references to the first “Beetlejuice” movie. The Handbook for the Recently Deceased is once again a pivotal part of the plot. Miss Shannon’s School for Girls, which was seen at the end of “Beetlejuice,” has a much more prominent role in “Beetlejuice Beetlejuice.” Little Jane Butterfield (played by Rachel Mittelman), the pre-teen daughter of nosy real-estate agent Jane Butterfield (played by Annie McEnroe) in “Beetlejuice,” is now all grown up in “Beetlejuice Beetlejuice.” The adult Jane Butterfield Jr. (played by Amy Nuttall) is also a real-estate agent.

Music also plays a big role in “Beetlejuice Beetlejuice,” which has “Beetlejuice” composer Danny Elfman returning for the franchise’s jaunty score music. In “Beetlejuice Beetlejuice,” there’s a soul train where people in the waiting area dance like they’re in a “Soul Train” episode from the 1970s. There are mostly African American people (many with Afro hairstyles) in these soul train scenes, which might or might not be taken a certain way depending on how much viewers know about “Soul Train” in the 1970s.

Songs from Harry Belafonte’s 1956 “Calypso” album—most notably the hit tune “Day-O (The Banana Boat Song)”—are prominently featured in the original “Beetlejuice” and can be heard again in “Beetlejuice Beetlejuice.” But the song that gets its big moment in “Beetlejuice Beetlejuice,” is “MacArthur Park,” which was a hit (separately) for Richard Harris in 1968 and Donna Summer in 1978. Also look for a comedic moment featuring Richard Marx’s 1989 hit “Right Here Waiting.”

Keaton, Ryder and O’Hara all give very good performances in reprising their “Beetlejuice” roles. In “Beetlejuice Beetlejuice,” Ryder has the most challenging task of the three original “Beetlejuice” stars because her Lydia character has changed the most from the original “Beetlejuice” movie. Lydia is now a complicated adult with more emotional baggage than what the teenage Lydia character had. Much of the movie relies on Lydia’s reactions to a lot of the mayhem that takes place. Ryder’s performance as Lydia (who gets the most screen time in the movie) could be annoying to some or entertaining to others, but she is always compelling to watch in “Beetlejuice Beetlejuice.” Keaton’s Beetlejuice is essentially the same, while O’Hara’s Delia is even more cartoonish than in the original “Beetlejuice” movie.

Ortega and Theroux are perfectly fine in their roles, but they’re both doing versions of other characters that they’ve already done on screen: the pouting teen character for Ortega, the two-faced liar character for Theroux. The “Beetlejuice Beetlejuice” filmmakers made the right decision to have Delores say as little as possible because Bellucci has a limited acting range compared to other stars in the “Beetlejuice Beetlejuice” cast, although she looks fabulous as Delores, who could pass for an evil cousin of Morticia Addams. Dafoe hams it up as the buffoonish Wolf, who is the most unnecessary new character in “Beetlejuice Beetlejuice.”

“Beetlejuice Beetlejuice” at times seems a little too self-satisfied with all of the different subplots that are sometimes left to dangle and are left hanging while another subplot comes along as a distraction. The mischievious rogue Beetlejuice is also not in the movie as much as some viewers might expect from a film named after this character. Overall, if viewers have any curiosity about “Beetlejuice Beetlejuice,” it’s best to see the original “Beetlejuice” movie first and then enjoy the somewhat wild and bumpy ride that is “Beetlejuice Beetlejuice.”

Warner Bros. Pictures will release “Beetlejuice Beetlejuice” in U.S. cinemas on September 6, 2024. The movie was released in several countries outside the U.S. and had sneak preview screenings in U.S. cinemas on September 4, 2024.

Review: ‘Violet’ (2021), starring Olivia Munn, Luke Bracey and the voice of Justin Theroux

March 8, 2022

by Carla Hay

Luke Bracey and Olivia Munn in “Violet” (Photo courtesy of Relativity Media)

“Violet” (2021)

Directed by Justine Bateman

Culture Representation: Taking place in the Los Angeles area, the dramatic film “Violet” features a predominantly white cast of characters (with a few Asians, African Americans and Latinos) representing the working-class and middle-class.

Culture Clash: A woman who’s the head of production at an independent film production company is wracked with insecurities about herself and is haunted by her troubled past with her estranged mother. 

Culture Audience: “Violet” will appeal primarily to people who are interested in seeing a psychologically driven movie that shows a constant flow of a neurotic person’s conflicting thoughts.

Dennis Boutsikaris in “Violet” (Photo by Mark Williams/Relativity Media)

“Violet” is a multilayered movie that effectively shows three psychological layers of an insecure person: the conscious mind, the subconscious mind, and how the person acts on any conflicts between the conscious and subconscious. Oliva Munn gives a riveting performance as the movie’s title character: a 32-year-old woman who is very uneasy with herself, but who tries to project to the outside world that she’s happy and confident. “Violet” (written and directed by Justine Bateman) is intended to make viewers uncomfortable because of how candidly and realistically it portrays people who seem to be one way in public but are quite another way in their deepest thoughts.

On the surface, Violet Calder (played by Munn) seems to have the kind of life that a lot of people want: She works in the movie industry in the Los Angeles area, where she’s head of production at an independent film production company called Gaines Pictures. But from the movie’s opening scene, viewers see that Violet is in fact discontented with her life because she’s very unhappy with herself. She’s the very definition of someone who has “imposter syndrome”—feeling like a fraud who’s unworthy of accomplishments and praise.

Throughout the movie, viewers see and hear two types of Violet’s inner thoughts. Her true feelings (her conscious mind), which are often vulnerable but optimistic, are shown in hand-written scrawls on screen. Her negative and self-critical side, which lies deep in her subconscious, can be heard in voiceovers by actor Justin Theroux. These warring thoughts often make statements that are in direct contrast to each other. The way that Violet reacts to these thoughts shows her decision making in what she ultimately does for her actions and words that she wants people to see as representing herself.

In the beginning of the movie, Violet is temporarily living at the house of her longtime friend Red (played by Luke Bracey), whom she has known since they were 12 years old. Violet and Red are both single with no children. The movie’s opening scene shows Violet in her car before she heads off to work. A hand-written scrawl appears on screen with these words: “Is there something wrong with me?” The negative voice can then be heard saying, “You’re a pig,” and begins to berate her by saying that people will think she’s a loser for not having her own place.

At her job, Violet has a few subordinates who don’t treat her like a boss they respect. They treat her more like someone to take advantage of by slacking off on their workload. Gaines Pictures’ headquarters has an open-floor plan, where Violet doesn’t have her own office. She has a desk that is right in the middle of the desks of people who have lower rankings at the company. These desks are placed classroom-style, while Gaines Pictures founder Tom Gaines (played by Dennis Boutsikaris), a longtime director/producer, has his own office. This company’s work space is a reflection of the company’s power structure and how Tom runs the company.

There are obvious signs that Violet is underappreciated and disrespected on the job. A subordinate named Bradley (played by Zachary Gordon) calls her “sugar plum” and asks her for production reports that he should already have. Brad and another subordinate named Julie (played by Cassandra Cardenes), who are both in their 20s, waste time by standing near Violet’s desk and distracting her with petty gossip instead of being responsible and doing their work.

The disrespect is even worse from her boss Tom, who is a misogynistic creep. During a conference room meeting with an outside colleague named Darren Brightly (played by Al Madrigal), Tom demeans Violet by making sexual innuendos that imply that she’s in a sexual relationship with Tom, and that she uses sex to get what she wants. Violet looks humiliated, while Darren looks like he’s too much in shock to say anything.

One person at Violet’s job who really seems to respect her is an administrative assistant named Keith (played by Keith Powers), who gripes to Violet about Brad and Julie: “They’re always saying stuff, and you just let them? You’re head of production. They work for you. They’re always over here bothering you. Why don’t you just tell them to fuck off?”

Violet replies, “Listen, it’s just better for me not to say anything. The less opportunity I give them to label me a ‘bitch,’ the better.” Meanwhile, the negative voice inside Violet’s head tells her that she should ignore the disrespect and micro-aggressions from her work colleagues. For example, in reaction to Bradley’s condescending attitude to Violet (even though she’s his boss), the negative voice tells Violet: “Let it go, or he’ll quit. Don’t be bossy.”

Throughout the course of the movie, Violet is shown making compromises that make her uncomfortable because she doesn’t want to be accused of being difficult. Other times, she lets the negative voice in her head get to her, and she acts very mean-spirited and selfish. Viewers often have to guess what Violet will do when the conscious and subconscious thoughts are completely opposite.

In addition to her boss and colleagues, there are other people in Violet’s life who see various sides of her. How much they take the time to know the real Violet is a reflection of how much they care about her. Red is a loyal and supportive friend, who tells Violet that she can talk to him about anything at any time. He seems to know she’s got a lot of inner turmoil that she finds difficult to disclose.

Violet has another close friend named Lila (played by Erica Ash), who thinks that Violet and Red should be a couple. However, Red is a screenwriter, and Violet thinks dating a writer would be a “step down” for her, so Violet tells Lila that she wants to continue to date executives in the entertainment industry. But based on Violet’s unhappy and unfulfilled love life, that decision isn’t working out so well for her.

To show a contrast between Violet’s self-esteem and Lila’s self-esteem, the movie has a scene where the two friends meet at a restaurant/bar for dinner and drinks. Violet says that she has her own “naysayer committee” in her head, and she tells Lila that she has to learn to stop listening to this inner negativity. Lila says she sometimes has self-doubt too, but her parents raised her to believe that she’s great, and anyone who says otherwise is lying. Violet definitely did not have that type of upbringing, so it’s yet another reason for Violet to feel insecure about herself. It also makes Violet envious of Lila’s genuine self-confidence.

Violet has some brief encounters with some other people during her emotional and psychological journey in this movie. In a parking lot, she randomly sees an ex-boyfriend named Martin (played by Simon Quarterman), a music executive who currently lives in New York City, but who’s visiting Los Angeles for work-related reasons. When Violet sees Martin again, it triggers painful memories of why Violet and Mike broke up. Viewers find out why in flashback scenes.

The movie’s flashbacks also include scenes of 8-year-old Violet (played by Liliana Mijangos) riding her bicycle, sometimes alone, sometimes with friends. These childhood flashbacks are often shown on a giant video screen, as if it’s replaying inside Violet’s head, and her inner voice tells her this childhood experience of riding a bike was the last time she truly felt freedom. But in one of those flashback scenes, Violet rides home on her bike, only to get a barrage of shouted insults and criticisms by her mother (who’s never seen on camera, but who is voiced by Erin Cantelo) as soon as Violet arrives at the front door.

You don’t have to be a psychiatrist to see that Violet’s fractured relationship with her abusive mother is the root cause of most of Violet’s self-esteem problems. Through conversations, it’s eventually revealed that Violet, whose closest family members live thousands of miles away in an unnamed U.S. state, has not spoken to her widow mother for the past three years. Violet’s older brother Rick (played by Todd Stashwick) and Violet’s maternal aunt Helen (played by Bonnie Bedelia) express resentment and hostility to Violet because she’s distanced herself from the family. They think Violet is too caught up in her Hollywood movie job and showbiz lifestyle to care about them.

“Violet” will probably have extra appeal to people who like seeing movies that authentically depict behind-the-scenes Hollywood production workers, what their jobs entail and the types of social events they go to outside of work. Getting a job in the movie industry can really come down to who you know and being in the right place at the right time, not having a college degree or lots of experience. For example, at a party, Violet is offered a job on the spot by two movie executives she knows named Dennis (played by Jim O’Heir) and Harry White (played by Jason Dohring), who have co-founded a new independent production company called Phoenix Circle Films. The movie shows whether or not she takes this job offer.

An example of why Violet feels like a failure is how her plans have stalled to make a movie out of a poetry book that she loves called “Fox Run.” The “Fox Run” movie was a pet project of Violet’s, and even had a screenplay, but the project has been stuck in “development hell.” Violet has pretty much given up on the movie ever getting made. Her obnoxious boss Tom comments to her about the “Fox Run” movie in front of her co-workers: “You were always a pussy for art films.”

Bradley and Tom know how much “Fox Run” means to Violet, so these toxic male colleagues both use that information to try to embarrass her in passive-aggressive ways. The “Fox Run” movie is obviously symbolic of how Violet feels about herself and how she’s treated by others: misunderstood, unappreciated and stuck in a rut. The “Fox Trot” movie is such a sore subject for Violet, when Lila asks Violet about the movie, Violet loses her temper and snaps, “Just drop it! It’s none of your fucking business!”

All of the cast members of “Violet” give credible performances, but how people respond to this movie mostly depends on how realistic they think Munn is in embodying this complicated character. It’s not about Violet being “likable.” It’s about her being believable.

“Violet” writer/director Bateman impressively uses techniques to show that Violet’s life sometimes plays like a movie in her head. In addition to the childhood flashbacks shown on a giant projector screen, other flashbacks are revealed as compelling quick-cut edits. Whenever the negative voice thoughts overwhelm Violet, the cinematography turns the screen a crimson red, with an effect simulating people fading out of vision and a monotone electronic noise drowning out the sound.

What “Violet” also does well is show how women in the workplace have to navigate differently than men, because women are more likely to have the threat of sexual harassment or the hassle of sexist people who automatically think the female gender is inferior to the male gender. “Violet” also poignantly shows how an abusive childhood can have long-lasting effects well into adulthood. It’s not always a pleasant film to watch, and the constant “war of words” in Violet’s head might be a turnoff to some viewers, but it’s hard not to be curious about how this psychological drama is going to end.

Relativity Media released “Violet” in select U.S. cinemas on October 29, 2021, with an expansion to more U.S. cinemas on November 5, 2021. The movie was released on digital and VOD on November 9, 2021.

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