Finding Fitra Is A Character Driven Drama

Society’s view on sexuality has played a pivotal role in the equality of the gay community. Their existence is often ignored as there is a stigma against their lifestyle and those who choose to reveal their identity are either attacked or shunned away. The fatality of Matthew Shepard during the late 90s proved to show that some parts of society had not yet accepted homosexuality. Whether or not acceptance is relevant today, the play works to address the issues of sexuality through Matthew and have the audience understand the reality of the lives tormented by hate.

In this story, I found the theme to be a little confusing, I am unsure of the purpose in this story, although I did find it a little creepy, I cannot see any lesson or moral that the author is trying to portray in this story.

Also, continue to work on dialogue. At times the dialogue sounds un-natural because it’s stiff and formal. It also sounds repetitive as the bad guys constantly repeat their goal. Some characters sound melodramatic. For example on the very first page, Dishler says: “He knows everything! This could be the end of us all!” This is histrionic and not considered compelling dialogue.

For most viewers the initial reaction will be confusion and sometimes disappointment, however, for those which love non-conventional film the challenge they will have to face is enormous e intimidating due to it lacks of enough information the characters provide and the endless use of symbolism.

Something felt off about the scene. After I re-read it I realised that for character quality time/mission discussion, the scene consisted of only regular back and forth dialogue and throwing information and explanations within it. Other than a messy eating Iris I really cannot imagine what's going on in the scene in my own head, and the dialogue isn't meaningful enough to give me a picture either. There feels like a shift should be inserted into the scene, for pacing and attention-keeping's sake. A perfect example could be after all the technical discussion and teasing of each other, Iris thanks Rehmi. In the current draft it has been almost passed over and not emphasised enough, but a little change to it, what you'd call a beat, could give it more

The only area that should be polished is the running gag about “whores.” This is still overdone. It’s funny in the beginning, but then loses its charm. The discussion about “big dicks” isn’t all that engaging.

JJ Peterson is a Christian minister and has a master’s degree in theology. He knew he was gay and was afraid to demonstrate his sexual orientation due to fear of harm when he was young. JJ tried his best to follow his religious belief in hopes god would transform him to live in a non-sinful life he believed he was living, essentially he was living a lie, one that did not follow the norm. Ashamed of being gay, he hide himself from others. There came a point where JJ could no longer hide the truth. The shame eventually incremented for an extended amount of time which

The setting feels authentic to the time period and to the culture. The characters are likable and seem to be castable, especially Kane. The action sequences are nicely crafted.

The dialogue is solid in that it’s authentic to the culture and time. The dialogue reveals information about the characters and their values and motivation. However, the script does seem to rely a bit too much on dialogue, which also hinders the pace.

It has a convoluted storyline, along providing hints for the audience to guess the truth of the story. A full picture is never presented until the very last moment. There is a constant use of voice over, off screen and flashbacks.

There’s still edits that can be done to tighten the overall presentation. This mainly involves the dialogue and the subplot involving Gina and Dmitri.

However, when it comes to queer-centric love stories, the most common reaction follows the lines of “this is a gay story, about two gay people, and is about them being gay”, due to the lack of substance to the plot. Even if a work does have a complex plot, the public’s reaction and treatment of the work as “a gay story” is harmful to perceptions of queer life. Specifically, the manner in which many queer stories, and “Brokeback” (with the death of Jack) tragically end. These tragic ending, tragedy that is rooted in the character 's sexual orientation, only further sends the message that you can’t live as a queer person without pain and consequences, that there is no legitimate way for a happy ending to occur for queer characters. In

Sweeney Todd was a disturbing movie that made me feel anxious, as the plot progressed. This movie was a musical about Sweeney Todd wanted to take out on the town because of the loss of his family. The entire look of this movie starting from the color of the town to the makeup, costumes, and the design of the city itself, made me feel a bit unease. To narrow down the main elements that gave me discomfort is the visuals, singing, the little use lighting and how the movie is supposed to be viewed as unrealistic. As the movie grows with tension, rage, and killing my feelings grew stronger.

While I enjoyed the level of suspense the writer has created in this script, I found the pacing to be slow. Moreover, there are a few instances where the writer incorporates internal character thoughts in the description lines. For example, the sequences in the script that pull us back and forth between Marcus and Genevieve as she cleans Ms. Taylor’s house and he works on his alchemy.

The first thirty minutes, in which we discover and discuss with the doctors what this disease is and how it's affecting humanity is intriguing, involving, and fascinating. But the film, rather than investing in its characters, gets a little sporadic in its storytelling. There are just too many characters with too many "mini plots" for us to really explore all of them. There are certain characters that weren't in the film enough, such as Marion Cotillard, who is absent from the bulk of the second act. as well as characters that were, perhaps, made more important than entirely necessary, such as Jude Law, who takes up much screen time for a subplot that only supplies sparks of interest. The film eventually becomes very hopeful, showing humanity's ability to overcome any obstacles that may come in our way, but I wished the third act was as dark as the first. Still hopeful, but a lot