The second installment for the renovated Delacorte Theater/ Free Shakespeare-in-the-Park is probably one of, if not the Bard’s best known play, “Romeo & Juliet.” Although it is beloved and popular, a classic among Shakespeare’s cannon of classics, it is not one that is frequently done by the Public Theater. In fact, it’s been 20 years since the ill-fated star-crossed lovers took center stage in Central Park. Unlike the last time it was performed, don’t expect this production to be traditional. Often Shakespeare’s dramas are all drama all the time in the way that his comedies are almost alway light and comedic. But with this story in particular, there is as much violence and tragedy as romance and hope, and in the case of this version, peppered with just the right amount of comic relief. Romeo & Juliet really does offer a lot of what Shakespeare is known for, without being too heavy handed with any of it… until the very or bitter end (pun intended)

If not familiar with the basics of “Romeo & Juliet,” let’s set the stage: The town is dominated by two families, the Montagues and Capulets who are torn apart by ideology and a seemingly inevitable clash. Violence seeps into the streets of Verona, and all families have to maintain their allegiance, When Romeo and Juliet meet and fall in love, they know not that they that the other is a member of the enemy family, and eventually they care not about their differences. Initially, their secret encounters are rainbows and roses as they profess their love for one another. In fact, it at this point that Juliet delivers one of the most well-known lines from the play.

“What is in a name? That which we call a rose by any other word would smell as sweet. So Rome would, were he not Romeo called, retain that dear perfection which he owes without that title. Romeo, doff they name and for thy name, which is no part of thee, take all myself.”

Their secret love and their secret sweet times together seem fleeting as the warring factions of their family and community come crashing in on their relationship. In this bold new staging, the play unfolds in English, but Romeo and Juliet eventually begin to speak to one another in both Spanish, a language reserved for their shared world. In addition to the play being bilingual the other modern aspects to the production included contemporary costumes and a sparsely designed stage featuring a gigantic wall reminiscent of the U.S. / Mexico border wall. All this, and more, gives a nod to our current political climate of strife and division.

“While Romeo & Juliet endures as one of the greatest love stories ever told, it is equally a cautionary tale about the devastating consequences of division within a society. We are living through an extraordinary and painful moment, witnessing the loss of our fellow citizens as we wage war over the very question of who belongs in America,” said director Saheem Ali. “Shakespeare has something urgent and heartbreaking to say about how the young and innocent become collateral in wars they did not choose."

Although “Romeo & Juliet” is known mostly for it’s dramatic themes and tragic ending, it does have moments of levity, thanks in large part to some of the supporting charters, like Juliet’s nurse. In this production the nurse is played by Deirdre O’Connell. While you may not recognize that name, you more than likely will recognize her face from numerous supporting roles on TV and film (“Eternal Sunshine of the Spotless Mind,” “The Beast in Me”). Hers though is probably only one of a couple of recognizable face in the play. Unlike last year for the launch of the renovated space which was a star studded affair, this year’s production has big Hollywood actors attached to it. There is nothing wrong with that because while major prominent figures often love to participate in the Public Theater’s free Shakespeare, it’s refreshing to see the theater give opportunities to local working actors. The cast led by Ra’Mya Latiah Aikens portraying Juliet, and Daniel Bravo Hernández as Romeo do the production and the enduring, timeless drama proud.

The Delacorte production of “Romeo & Juliet” runs through June 28, and supported by the Shakespeare Mobile Unit production of “As You Like It,” which makes its way through all five boroughs. This year also marks the return of two productions presented on the new Delacorte stage. On July 25th, Tony Award-winning director Daniel Sullivan presents a spellbinding new production of “The Winter’s Tale.”

Tickets to The Public Theater’s Free Shakespeare in the Park are distributed in a number of ways. Go to visitpublictheater.org for details.

The next best thing to springtime in Paris… as in the actual city, is Rendez-Vous With French Cinema in New York. The annual festival, curated and hosted by Film Lincoln Center (FLC), ushers in what they consider to be the best contemporary cinema out of France. In past years of the festivals three-decades history, there has usually been a deft combination of genres, including drama, comedy, suspense and documentaries, with emphasis on the first two categories. This year looks to be keeping in that tradition as this reviewer got screening previews of several selections. Below are a few worth viewing at the festival or when (or if) available for streaming at a later date.

The Stranger / L’Étranger, François Ozon (director) 
This unique and intense period drama serves as the festival’s “Opening Night Film,” which typically is a positioning of honor, indicating quality distinction. They are not wrong in that because although this is from the highly regarded and prolific filmmaker who’s been a festival regular for decades, “The Stranger” is evidence that he is still creating at an impressive level and not waining. After working with Benjamin Voisin (Meursault) for the actor’s breakout role in “Summer of 85,” Ozon reunites with star for a new adaptation of Albert Camus’s novel, including bringing in Algeria to the race/racism thematic and visual foreground in this adaptation. 

The story takes place in 1930s Algeria when the daily life of a Frenchman, Meursault, seemingly indifferent and without feeling, finds out about the death of his mother. Soon after, he befriends a neighbor, leading to a shocking and fateful encounter on a beach. Shooting in a stark texture of black and white, Ozon uses that to the period, setting and the main character’s obtuse nature.

Director: Francois Ozon
Writers: Albert Camus, Francois Ozon, Phillippe Plazzo
Country of origin: France
Runtime: 124m
Language: French with English subtitles
Production company: Gaumont

Enzo, Robin Campillo (director)
This marks the last of a many years collaboration between Campill and writer/editor, Laurent Cantet, resulting in six films. When Cantet passed away in 2024, Campillo filmed their final joint writing project in his honor. Sixteen-year-old Enzo (Eloy Pohu) is a Talented but unmotivated student who failing at school and feels very different from his wealthy, but well-meaning parents (Pierfrancesco Favino and Élodie Bouchez). Seeking to find his own way and to his parents’ concern, he drops out of school and joins a home construction crew. Even at that he struggles to find focus as a construction site apprentice. Later, when a friendship is formed with a co-worker, migrant Ukrainian laborer Vlad (Maksym Slivinskyi), Enzo finds his footing and is pulled out of his.

“Enzo” unfolds into a quiet and interesting coming-of-age story, with very believable performances by all, especially the young lead. The film is poignant and worthy inclusion of this legacy of nuanced, up-to-the-minute social realism films by Campill and Cantet.

Director: Robin Campillo
Writers: Robin Campillo, Laurent Cantet
Country of origin: France/Belgium/Italy
Runtime: 102m
Language: French and Ukrainian with English subtitles
Production company: StudioCanal

Colours of Time, Cédric Klapisch (director)
Keeping in his beloved tradition of thoughtful and character-filled stories, mixing drama with humor. and incorporating large ensemble casts, filmmaker Cédric Klapisch delivers another cinematic charmer with “Colors of Time,” but with an unusual twist. Four distant cousins connected through an ancestry online agency gather at a dilapidated family house in Normandy. The film follows each character’s present-day reunion and their ancestor’s late-19th-century adventures as one of the ancestors arrives in Paris in 1895 to search for her elusive mother. Soon afterwards she befriends painters and photographers as the city enters the Belle Époque. Traversing between time periods and a different set of characters, this, this begins a unique element for Klapisch.

Although “Colours of Time” lacks some complexity and Klapisch fans may initially be pulled off guard to the juxtaposition between time periods and characters, it is undeniably delightful.

Director: Cédric Klapisch
Writers: Cédric Klapisch, Santiago Amigorena
Countries of origin: France/Belgium
Runtime: 124m
Language: French with English subtitles
Production company: StudioCanal

The Little Sister /  La Petite Dernière, Hafsia Herzi (director)
For her fourth directorial installment, Herzi focuses on a Muslim teenager going from her last year in high school to her first in college while navigating religion and sexual identity issues.
Fatima (Nadia Melliti) lives with her close-knit Algerian immigrant family in Paris, but fears what could happen should they, and her community overall, realize that she is a lesbian. While exploring her identity and sexual desires, Fatima meets Ji-na (Park Ji-Min) and falls in love. With both having life, and in the case of Ji-na, mental health challenges to overcome, their relationship is tested.

Newcomer Melliti gives a nuanced performance of a quiet and complex character coming into her own. It’s understandable her Best Actress awards at Cannes and Lumières for this performance.

Director: Hafsia Herzi
Writers: Fatima Daas, Hafsia Herzi
Countries of origin: France/Germany
Runtime: 113m
Languages: French and Arabic with English subtitles
Production companies: June Films, Katuh Studio, Arte France Cinema

The 31st Rendez-Vous With French Cinema takes place March 5-15 and features 22 films, with filmmakers and special guests appearing for select Q & A. Go to filmlinc.org for festival details and to purchase tickets.

SHOWCASING  UNIQUE FILMS/STORYTELLING FROM AFRICA & DIASPORA

This year’s theme for the 33rd New York African Film Festival (NYAFF) is “As the Stars Sow the Earth.” With that in mind, the festival celebrates cosmic agents associated with memory, will, and possibility into Africa and its diasporas. Based on the festival’s theme and lineup, made of diverse genres and filmmakers, the two things that seem to resonate most are preserving the history of Africa, politically and artistically, and recognizing how the continent has been the target of and has overcome colonization and exploitation of natural resources.

“Across this year’s selection, filmmakers are reimagining the landscapes we inherit—drawing from ancestral wisdom not as something to leave behind, but as a source of renewal and possibility,” said Mahen Bonetti for the festival’s press release. Bonetti is the founder and Executive Director of AFF. “Many of the directors, including a strong group making their first features, open new ways of seeing, rooted in land, spirit, and the worlds we share. In these films, what sustains us becomes a kind of wealth, guiding how we envision and shape futures on our own terms. Together, they offer glimpses of brighter horizons, reminding us that even in difficult times, life takes root in surprising and extraordinary ways.”

The festival’s centerpiece film, the documentary, “The Eyes of Ghana” by Ben Proudfoot is a shining example of all of the above. In the 50s and 60s, Kwame Nkrumah was the country’s leader who ushered his people into freedom from British colonizers. His goal was clear from the start, first Ghana, then the whole of Africa through development of a united states system similar to the U.S.A. Documenting the rise and fall of Nkrumah and this pivotal period for Ghana was cinematographer Chris Hesse. Although 90, plus, years old, Hesse is still a vibrant part of Africa’s film community as a film school educator and historian. Hesse, along with Hesse and young Ghanaian filmmaker Anita Afonu combine efforts to rescue, restore and repatriate more than 1,000 films that were long thought to be destroyed by Nkrumah.

Their journey through this process is poignantly and honestly captured in “The Eyes of Ghana.” Hesse and Afonu are a great pairing, authentically showcasing the country’s film community. Their deep love and respect for one another is evident and serves as a wonderful catalyst for the film’s progression. Two time Academy Award winner Ben Proudfoot (Best Documentary Short) doesn’t shy from the complicated history of Ghana while leaving viewers hopeful for its future. The film was executive produced by Barack and Michelle Obama and won the Audience Award at the Hamptons International Film Festival.

Director/Writer: Ben Proudfoot
Country of origin: Ghana
Run time:  90m
Language: English, Twi, and Ga with English subtitles

In that same spirit and through the genre of narrative feature film, “Afrotōpia” by David Mboussou, shows the struggle for artistry through film and the importance of preserving African land and resources. Ezekiel, a 25-year-old aspiring filmmaker, lives in the Congo Basin with his powerful businessman father, Maurice. The two are at odds as Maurice despises his son’s artistic ways and insists that if he lives in his house, he must join the family business. During his indoctination, Ezekiel discovers the plans to exploit a sacred forest, the last refuge of an indigenous community. 

Director/Writer: David Mboussou
Country of origin: Gabon
Run time: 128m
Language: French with English subtitles

Opening this year’s festival is a layered film with four women at its core. “Promised Sky” by
Erige Sehiri follows a brief period in the life of Marie, a pastor and former journalist who unofficially takes in a young orphaned girl. She also shares her house with Naney, a young mother seeking a better future, and Jolie, a student carrying her family’s expectations. All involved navigate poverty, displacement and lost loves in an uncertain world in Tunisia. What “Promised Sky” lacks in smooth transitions and dialogue as well a more appealing look, it makes up for in its themes and performances.

Director/Writer: Erige Sehiri
Country of origin: France/Tunisia/Qatar
Run time: 95m
Language: French and Arabic with English subtitles

In addition to the 14 feature films and documentaries of NYAFF, the line up also includes a robust shorts collection, post screening Q&A with filmmakers and talent, and special programming featuring digital exhibition. Unlike most of the other Film Lincoln Center (FLC) festivals, this one moves around the city and even has time in Brooklyn. The festival kicks off on May 1 with a Town Hall at The Africa Center, heads to FLC May 6-12, travels to Maysles Documentary Center in Harlem (May 15 to 17). The Brooklyn Academy of Music/BAM will take over festival host duties starting May 22 through May 28 as Film Africa, and then closes with an outdoor screening at St. Nicholas Park on May 30.


For more details about the NYAFF and to purchase tickets go to https://www.filmlinc.org/festivals/new-york-african-film-festival/?tab=films

1. It Was Just an Accident by Jafar Panahi- It Was Just an Accident (Paula’s Pick) - Here’s a great example of a perfectly imperfect film imbued with cleverness, uniqueness, charm and poignancy delivered in an unexpected way. This the latest from renowned and brave Iranian filmmaker Jafar Panahi who several years ago was banned from making movies by the government. As a result and ever since the ban, he has taken personal and political risk in forging ahead creating art and telling relevant stories. “It Was Just an Accident” is no exception to he and his cast and crew’s artistic stance and putting out this relevant story of moral dilemma and revenge.

Randomly in the middle of one fateful nigh, mechanic, Vahid (Vahid Mobasseri) believes he has  reencountered his torturer, Eghbal (Ebrahim Azizi), from years ago while he was under government detainment. Until he can get confirmation of the alleged tortuer’s identity, Vahid decides to kidnap and gag Eghbal, stuffing him into a box in the back of his van. He then seeks out and is referred to a few individuals who too had been in the same prison and may be able to successfully tell him whether or not this is the monster from their past and whose actions continue to haunt their dreams. It is in the enlisting of their help, with Eghbal in tow, that weird and wacky series of events are unleashed. Thought this dark comedy thriller, all involved, including a bride and groom and their photographer, feel an unquenchable thirst for answers and for revenge. Along the way, they are challenged with moral complexities of revenge murder and the risks involved for themselves if they let their captive go.

There are times through the film, where the pacing is uneven and a couple scenes are repetitive and over-written, but never to the point of losing the audience or detracting from it’s overall creative brilliance. Throughout, Panama deftly balances an intriguing sense of danger, with unexpected and welcome humor, and the cherry on top is the uproarious cast of characters in the hands of a bodacious ensemble of actors.

2. The Voice of Hind Rajab by Kaouther Ben Hania- Some films entertain, some engage and even enthrall you. But there are those rare gems that deeply impact you and haunt you way beyond the first viewing. “The Voice of Hind Rajab” is a great example of the latter. A stunning blend of dramatization and reality, it takes place at the Red Crescent emergency call center in Ramallah, West Bank, 52 miles from Gaza. Omar, one of the center’s volunteers, takes a call a six-year-old girl who is trapped in a car and under the watchful gaze and gunshots of the IDF in Gaza. Hind is terrified and alone as her aunt, uncle and young cousins have been shot and killed, with their dead bodies surrounding her in the car. She is pleading for help while Omar and a few of his colleagues work desperately to keep Hind on the phone.

Their hopes are to keep her calm and alive while they wait to be able to dispatch an ambulance to rescue her. Under normal circumstances that would be a simple procedure, but not in Gaza and not with the murderous IDF. For Oma it is a negotiation that takes almost two hours, navigating tensions within the call center’s management as well as time needed for the Red Cross to convince the IDF to stand down and permit the child’s rescue. Based on real-life events and incorporating the actual voice recording from Hind on that day, Hania’s docu-drama is beyond important and timely. It is essential filmmaking layered in humanity while encapsulating injustices of our time. To say that “The Voice of Hind Rajab” is a must-see is an understatement.

3. Sentimental Value by Joachim Triers- go here for full review - https://www.paulafarmer.com/film-blog/sentimental-value-full-review
​
4. No Other Choice by Park Chan-Wook- It’s no surprise that this film was favored by festival critics and goers, getting early buzz before its global release and South Korea’s selection for Best International film to the Academy Awards (2026). This unique thriller/dark comedy by director Park Chan-wook (“Decision to Leave”) makes a statement on corporate executive detachment, tech intrusion on work culture, and the fragility of employment. When Man-soo (Lee Byung-hun), a middle-aged husband and father of two kids is loses his career-long job as a manager at a factory, he goes to extreme lengths to secure a similar position with a different company. Though most of his twisted behavior is hidden from his family, his wife eventually suspect the worst. Lee deftly imbues the role with horror, humor and likability, and Park delivers a brilliant film that is absurdity at its best.

5. One Battle After Another- From renowned and beloved director, Paul Thomas Anderson, comes his most highly charged drama imbued with complex themes, dark humor and thrilling sequences. The story focuses on a group of political/social rebels intent on getting their messaging out by almost any means necessary, including capturing and tying up military personnel, bank robberies and setting off explosives. Core members of the group end up on the run. As such, the focus turns on washed up and coke addicted Bob (Leonardo di Caprio), now a single dad in hiding with his teen daughter and once again in the cross hairs of his former nemesis who has tracked him down.

“One Battle” boasts a dynamic and diverse ensemble cast- diversity, a first for Anderson-  that drove this movie to box office gold and critical acclaim. Expect this to sweep in major categories at the 2026 Oscars, including Best Film.

Here’s a great example of a perfectly imperfect film imbued with cleverness, uniqueness, charm and poignancy delivered in an unexpected way. This the latest from renowned and brave Iranian filmmaker Afar Panahi who several years ago was banned from making movies by the government. As a result and ever since the ban, he has taken personal and political risk in forging ahead creating art and telling relevant stories. “It Was Just an Accident” is no exception to he and his cast and crew’s artistic stance and putting out this relevant story of moral dilemma and revenge.

Randomly in the middle of one fateful nigh, mechanic, Vahid (Vahid Mobasseri) believes he has  reencountered his torturer, Eghbal (Ebrahim Azizi), from years ago while he was under government detainment. Until he can get confirmation of the alleged tortuer’s identity, Vahid decides to kidnap and gag Eghbal, stuffing him into a box in the back of his van. He then seeks out and is referred to a few individuals who too had been in the same prison and may be able to successfully tell him whether or not this is the monster from their past and whose actions continue to haunt their dreams. It is in the enlisting of their help, with Eghbal in tow, that weird and wacky series of events are unleashed. Thought this dark comedy thriller, all involved, including a bride and groom and their photographer, feel an unquenchable thirst for answers and for revenge. Along the way, they are challenged with moral complexities of revenge murder and the risks involved for themselves if they let their captive go.

There are times through the film, where the pacing is uneven and a couple scenes are repetitive and over-written, but never to the point of losing the audience or detracting from it’s overall creative brilliance. Throughout, Panama deftly balances an intriguing sense of danger, with unexpected and welcome humor, and the cherry on top is the uproarious cast of characters in the hands of a bodacious ensemble of actors.

Director: Jafar Panahi
Writer: Jafar Panahi
Stars: Vahid Mobasseri, Mariam Afshai, Ebrahim Azizi
Country: Iran, France
Languages: Persian, English
MPAA rating: PG-13
Runtime: 1h 45m
Production companies: Jafar Panahi Films, Les Films Pelleas

The prestigious New York Film Festival 63 recently wrapped things up while simultaneously launching the greatly anticipated awards season. Given its opening at the end of September (9/26- 10/13), combined with its limited and highly curated roster, the NYFF can often seem like the “greatest hits’ of the European festival line up. For those of us reviewers and cinephiles who don’t get to make the European festival circuit, that’s not such a bad thing, especially given NYFF also manages to sprinkle in a few world premier films as well.

A House of Dynamite (Paula’s Pick)- If you liked “Hurt Locker” and “Zero Dark Thirty”, you won’t be disappointed with this latest film by Kathryn Bigelow. “A House of Dynamite” explores the military and political protocols launched when a foreign missile is detected and targeted for the United States, specifically Chicago. It is filmed from the point of view of three different agencies and/or people and in three segments, and headed up by a fantastic cast, including Rebecca Ferguson (“Silo” and “Dune”), Idris Elba and Tracy Letts. Time is of the essence, with only minutes available for the agencies/representatives, including the president, played by Idris Elba, to make life and death decisions. A response to a global catastrophic event is in the hands of a select few, most importantly the president.

“A House of Dynamite” is shot in the raw and kinetic style that Bigelow is known for, making audiences feeling as close to the mounting tension as possible. It is a political/military thriller that will have audiences on the edge of their seats from the first frame to the last… and more than likely shouting at the screen when all is said and done. The pervasive feelings are intrigue and fear, once hit with the awareness that this is a plausible scenario.

Director: Kathryn Bigelow
Writer: Noah Oppenheim
Stars: Idris Elba, Rebecca Ferguson, Tracy Letts
Country: United States
Language: English
Production companies: First Light, Netflix
MPAA rating: R
Runtime: 1h 52m

After the Hunt- from Luca Guadagnino, the prolific director who brought us masterpiece award winning films (“Call Me By Your Name” and “I am Love”) - is a provocative drama featuring a star-studded ensemble cast that includes Julia Roberts, Ayo Edebiri, Andrew Garfield, Chloe Sevigny and Michael Stuhlbarg. Roberts portrays Alma Olson, a confident, ambitious Yale University philosophy professor whose comfortable, yet questionable personal life, and prestigious academic world are shaken to the core after her protege, Maggie (Edebiri) accuses Olson’s colleague and friend/sometime lover, Hank (Garfield) of sexual assault. The film centers on each character’s personal issues and histories and their responses, while navigating complex contemporary issues. Although in general it is commendable to explore multiple social issues, it became a bit problematic with the intersectionality of race and privilege.

“After the Hunt” is an example of an over-hyped film that under delivers. For the most part, the performances are searing and compelling, especially Ms. Roberts whose Alma   although pinned up and cold, is layered and somewhat interesting. The movie’s downfall has less to do with performances and off-putting nature of each character, than writing and editing. It is the actual script by first time screen writer, and Guadagnino, which is over-written, over ambitious and the film is under edited. “After the Hunt” is a two hour movie that feels more like three.

Director: Luca Guadagnino
Writer: Nora Garrett
Stars: Julia Roberts, Ayo Edebiri, Andrew Garfield
Country: United States
Language: English
Production companies: Big Indie Pictures, Imagine Entertainment
MPAA rating: R
Runtime: 2h 19m

Getting selected as a key cast member of the original production of the musical “Hamilton” would be hitting the jackpot for any actor, but for Renée Elise Goldsberry the opportunity ushered in a roller coaster of issues and emotions. These contradictions are at the center of the new documentary movie, “Satisfied.” One might interpret the movie’s title as Goldsberry either being satisfied with her seemingly charmed life and theatrical success, or that she’s striving to get to a point of satisfaction while navigating through her career and life path. The actuality of its meaning is somewhere in between. The film has the feel of, as Goldsberry describes her rare social media videos, journaling on camera or a memoir. It’s not a bio-pic, although we are given some perspective of her childhood. It’s an intimate glimpse into a profound moment in time for the Tony Award-winning actress.

“Here are some of my battles, lost and won,” Goldsberry reflects. With that she ushers the audience into her life at a pivotal crossroad.

“Satisfied” opens with the star’s admission that since childhood she always had two dreams: “To be a mother and to have a successful film and theater career.” Later she acknowledges that maybe it was naive of her to think she could obtain both easily. Not long after she gave birth to her son, Benjamin, she and her husband, Alexis Johnson tried for a second child. It was something they very much wanted for each other, and for Benjamin. After years of trying with no success they decided to adopt a child, and even that process was long and exasperating. But in the winter of 2014, before “Hamilton” the musical was known about and just before its Public Theater acquisition, the couple met Hagaria Alexis Johnson who they adopted from Ethiopia. All of them were ecstatic about the addition to their family, and Goldsberry was content to lighten her work load to focus on being a mother of two, with all its adjustments. But the acting gods had other plans.

Not long after introducing their baby girl her new world, Goldsberry received a call to audition for a workshop of a new show by Lin Manuel Miranda. She initially turned down the opportunity- several times- because she believed to take time away from her family was not worth it for a workshop, especially given the slim odds of being selected to go with it for the actual production. Between much prodding from her manager and hearing the play’s demo tape, Goldsberry realized this was something special, an opportunity of a lifetime. With her husband’s support, she dove into the “Hamilton” workshop as the eldest Skylar sister. Not only did she go on to be picked for the Public Theater’s production of the show, but Miranda would also include Goldsberry to reprise the role on Broadway. All of which was a great honor, a lot of work while also big fun. It would eventually lead her to a Tony Award, and other subsequent big life changes and decisions. Along the way though, “Hamilton” proved to be all consuming, and at that time, she was the only mother in the cast. She credits her husband with wholly supporting her decision and picking up the slack at home with their children, but she was conflicted. On one hand she was undeniably and understandably thrilled with this monumental career opportunity, but on the other hand she was experiencing regret and depression over being what she felt was an absentee mother.

It is this conflict that drives the story of “Satisfied.” The viewers’ the story’s real-life heroine battling exhaustion and expectations as she navigates motherhood and her groundbreaking role in one of the most successful (if not the most) productions in the history of Broadway. Throughout we are given rare behind-the-scenes access to the show’s process and progress, along with insights from cast members, including Miranda.

When not getting snippets of the musical, and although the main character, so to speak, is projecting anxiety, there is a welcome quietness to the documentary, with its first-person contemplative accounts. It is small and intimate, yet not boring. In today’s movie landscape mostly littered with noisy or intense offerings vying for attention on numerous streaming platforms, documentaries are definitely getting the short end of the stick. Even at that, most have to be political or social issues themed to be noticed, or get made. “Satisfied” is a welcome departure, both life affirming and inspiring- we can make those big life decisions and be better off on the other side of personal conflict. I’m going to say it, “Satisfied” is a satisfying watch.

Directed by: Chris Bolan, Melissa Haizlip
Stars: Renée Elise Goldsberry, Alexis Johnson, Benjamin Johnson, Brielle Johnson, Ariana DeBose, Lin-Manuel Miranda
Country: United States
Language: English
Production company: Stick-Figure Productions, Amblin Documentaries
MPAA rating: ?
Runtime: 1h 24m