What happens when one bases one’s sense of success and achievement on external praise and material worth? In his independent film “Reunion,” USC alum, writer and director John Kim explores this question.

The film, which will be screened on campus at Norris Cinema Theatre on July 20, follows the story of Guy (Jake Choi), who attempts to change his social status by attending his high school reunion, but stumbles upon a different school’s reunion happening at the same time, where he is mistaken for one of the most successful alums. As Guy interacts with former prom queens and jocks, he learns that they all expect something from him — or the wealthy billionaire they presume he is.

As an Asian American storyteller, Kim said he wanted to confront a type of “social laziness” — what Kim deems as the tendency to gloss over the diverse experiences of Asian Americans and group them as a monolith.

“The idea that [Guy] is mistaken for someone else who happens to be Asian, maybe the only Asian of this school, is something I wanted to explore humorously, and then a little bit more seriously as the story develops,” Kim said.

On May 1, Kim won the Truth Seeker’s Light Award at the Mountain View Community Center in honor of AAPI Month for individuals who challenge harmful stereotypes and expand Asian American representation. 

Kim said that he wanted the film to challenge notions of typical high school tropes. Characters like the class president, football hero or theater kid are not reduced to mere stereotypes; they’re given the depth they deserve. 

“We all have an understanding in whatever group that we’re in that there is a pecking order … It becomes instantly recognizable once you step into a space,” Kim said. “What I wanted to do was take the four or five archetypes that come out of a school environment … and explore the other sides of those characters.”

Kim said another theme he wanted to explore with the film is the tension present in the Asian American experience — the push and pull between assimilating into American culture and also preserving the Asian immigrant experience. 

“Although this story didn’t really begin that way, I think that within ‘Reunion,’ there are traces of that in [Guy’s] character, in that he’s someone who has sort of been left behind within his own experience culturally,” Kim said. 

Ellison, the man who everyone mistakes Guy for, is portrayed by Ludi Lin, known for his roles in “Power Rangers” (2017) and the “Mortal Kombat” film series. Ellison is a successful billionaire who attends the high school reunion under the guise of being a bartender. Out of fear of revisiting his hard past, Ellison hires a doppelganger (Hayden Szeto) to act as him, only Guy shows up.  

Lin said he loves indie films and has been working on them since high school. “Reunion” offered a compelling story to Lin, who had never experienced his own high school reunion. His favorite part of filming was having a discussion with Kim over what makeup to use for Ellison’s disguise. 

“Working on indie films, the fun parts are always first, the support; second, everyone is there for the acting, to be able to tell a story, because nobody’s getting paid a lot; [and third,] the process of contriving a magic trick,” Lin said. “What works, what doesn’t.”

According to Kim, movies such as “The Inspector General” (1949) and plays such as “Tartuffe” influenced the narrative in “Reunion,” as “they describe what it is like to have other people’s hopes and dreams projected onto oneself.”

“[As ‘Reunion’ progresses], you start to realize one by one that [the side characters] need something from this character that they are identifying as important,” Kim said. “Even though from the outside they look successful, these are people in their late 30s and 40s who somehow feel unfulfilled.”

Sebastian Twardosz, another USC alum and the executive producer of “Reunion,” said the filming experience tells another tale: one of resilience. According to Twardosz, the crew began shooting the day the Eaton fires broke out. 

As one of the few films being shot in Los Angeles at that time, “Reunion” offered a safe place for crew members, some of whom lost their homes to the fires, according to Kim.

“To create something during this time was really important for us, and for us to spend a year [in production] … and to come out of it on the other end and be able to show this film to audiences and have them respond has been really gratifying,” Kim said. 

Through humor, Kim said audiences can grapple with the movie’s hard themes in a more palatable manner.

“Audiences have different responses to different characters throughout the story, but I’ve noticed … three or four moments in the film, almost like clockwork, where you can hear the audience laugh and respond, like they want that release,” Kim said. “They have that sense of acknowledgment about what the story is saying about them as well as other people.”

Twardosz said his favorite part of the film was the ending, when every character’s mask falls away, and the truth comes out. 

“[The movie] is about accepting who you are, taking responsibility for who you are, not giving up on your dreams and taking responsibility for doing what you have to do to achieve them,” Twardosz said.

Success, and how people define that, is another concept the film asks audiences to consider, according to Kim. 

“From an Eastern perspective, there is much more of an acknowledgment of trying to look inward, as compared to the Western materialistic society that we live in, where it has to be about external achievement that can be seen and acknowledged and marked on a sheet of paper,” Kim said. “I find it to be quite damaging.” 

Kim said that he hopes audiences learn to stay true to themselves and their dreams after watching “Reunion.” 

“Life is made up of their choices, and regardless of the circumstances that they’re thrown into, they’re still allowed to make those decisions for themselves,” Kim said. “They’re not always the right decisions, but what’s important is for you to acknowledge who you really are and why that has value, why that matters.” 

“Reunion” will be screened at 7 p.m. on July 20 in the Norris Cinema Theatre as part of the School of Cinematic Arts’ “Outside the box [office]” series.

Laughing and twirling through the gold light shining from Sonia’s bedroom window, she and Coley dance like no one’s watching, pulling each other in closer with every spin. For the first time in the film, they are alone, and the raw chemistry between them is palpable as the two begin to fall in love. 

Originally released as a song and music video in June 2015, “Girls like Girls” by Hayley Kiyoko kicked off the artist’s career as an openly lesbian musician. Her music video featured young LGBTQIA+ love and promoted self-acceptance. Over a decade later, the song has developed into a novel and now a feature film of the same name, putting themes of self-discovery and growth on a larger screen. 

Set in 2006 in a small Oregon town, the film follows the recent arrival of Coley, played by Maya da Costa, as she and her father rebuild their lives after the passing of Coley’s mother. On a warm summer day, Coley sets out on her bike to a diner by the lake, where she meets a group of fellow high schoolers — including Sonia.

The film’s Y2K styling and references use pops of color and early technology to set an era-specific story, adding charm to the more melancholy themes that surround the rural town. 

Coley and Sonia’s relationship develops throughout the film, turning into a romance as they become vulnerable with each other. In a particularly touching scene, Coley opens up to Sonia about her mother’s death, something she has not confessed to a single friend in this new town.

Sonia consoles Coley, and the boundary of their friendship is finally broken when the two kiss, confirming Sonia’s reciprocation of feelings. Despite the two’s bond, they still refrain from saying “I love you,” instead opting to say “olive juice.” Though the moment is humorous, the avoidance of the word “love” also illustrates how Sonia’s internalized homophobia holds her back from full romantic expression, which is disappointing considering the build-up preceding this interaction.

Following the veiled confession between Coley and Sonia, the two’s friendship becomes strained, introducing possibilities of abandonment that trigger Coley’s trauma around her mother’s passing. 

This experience adds immense depth to Coley’s character arc and contextualizes the tension she experiences with her father throughout the film due to their shared grief, as well as the isolation she feels when Sonia neglects their friendship and denies their romantic affiliation. This prompts Coley to explore life in her new town outside of Sonia and confront her fears around her past and future alongside her supportive father.

While this piece of the film is crucial to Coley’s character development and personal growth, the lack of progress for Sonia’s character hinders much of the commentary the film could have made about self-acceptance and struggling with internalized homophobia. Additionally, Sonia’s disappearance from the story during Coley’s character development casts a negative light on Sonia’s character, drastically differing from her loyal and kind characterization in earlier scenes. 

Nevertheless, this isolation allows Coley to effectively show a range of emotional experiences and confront struggles specific to the LGBTQIA+ community, such as self-hatred and anxiety around appealing to societal norms. 

This emotional turmoil and confrontation with the past allow Coley to become a well-rounded character outside of her romantic storyline, and when she must face Sonia after a period of no communication, she has a renewed confidence that is refreshing for the audience. 

Overall, “Girls like Girls” authentically tells LGBTQIA+ stories and experiences and successfully captures themes of identity, self-discovery and found family. While the film could have explored a wider range of queer issues and perspectives through the character of Sonia, the developed arc of Coley’s character from vulnerable new girl to confident is empowering.

Even though Coley faces rejection by Sonia, the film attempts to mitigate this fallout through conversations around familial and social pressures in relation to coming out; ultimately, Sonia and Coley get closure, leaving things off in a satisfying way.

The film’s greatest strength is its depiction of LGBTQIA+ characters who can ultimately experience happiness and love in their own desires, a concept often neglected in most LGBTQIA+ media. Instead of having to settle for a loveless story or a last-minute love interest introduction with no substantial context, “Girls like Girls” exemplifies that resolution is possible, and even when romance faces societal criticism, love can still conquer all.  

Though most of today’s college students weren’t alive yet when Steven Spielberg’s most iconic films were released, it is no longer necessary to wonder what it would have been like to witness the debut of “Jaws” (1975), “E.T. the Extraterrestrial” (1982) or “Jurassic Park” (1993). Spielberg’s newest film, “Disclosure Day,” is an astonishing installment in the summer blockbuster season and a great film in its own right.

“Disclosure Day” hinges entirely on unbelievable information about alien life — both how it is given, and how it is withheld. The film follows a furious race between two teams: one wants to reveal a shocking truth about extraterrestrial life, and the other seeks to hide that truth. In order for the screenplay to function properly, it must constantly withhold information from the audience. This might frustrate some viewers, but as the mystery builds, it will only bring audience members closer to the edges of their seats.

From the film’s opening scene at a wrestling match to inventive showcases of the supernatural, at a spry 79 years old, Spielberg is still an expert at crafting a spectacle. The movie truly feels like a blockbuster built for theaters with its share of expensive-looking shots, like an ominous projection of countless computer monitors and a blinding portrait of a young girl walking into a mysterious house.

Spielberg knows his canvas is gigantic, and he uses it properly, often pulling the camera back to show the entire landscape, even if it’s just a news station building. For viewers who watched “Star Wars: The Mandalorian and Grogu” a few weeks ago and felt like they were just watching a TV show fit to widescreen, then “Disclosure Day” offers the perfect remedy.

Even the way he portrays fantastical powers feels genuinely original — a rare feat in a film landscape dominated by fantasy. The characters don’t just punch each other to make things happen; they use a magical alien glowstick to, for example, cause dozens of goons to crash into thin air.

The movie’s set and cinematography feel fresh and exciting, but the themes the film explores and its story beats are very familiar. Spielberg’s feelings on religion, love, truth and, of course, aliens, are all over “Disclosure Day.”

While many of the ideas are carefully remixed, some feel like leftovers from the 1980s, or like concepts Spielberg has already done better. For example, Spielberg’s previous project, “The Fabelmans” (2022), has a more nuanced depiction of religion and belief. David Koepp’s script for “Disclosure Day” reverts back to more stale, generic ideas of faith.

The spectacle could have also felt a bit too generic, but Spielberg has employed an easy fix to this: working with John Williams as his composer for the 30th time, reigniting the same collaboration that brought about scores for “Jurassic Park” and “Jaws,” among many others. Williams is 94 years old, but he’s still one of the best in the business. The sweeping, brooding orchestra pumping through every scene conveys the importance behind what might otherwise be seen as an ordinary scene.

The movie’s vast mystery would also risk collapsing in on itself without true support from its trio of leads. Margaret Fairchild (Emily Blunt), Daniel Kellner (Josh O’Connor) and Hugo Wakefield (Colman Domingo) prove themselves more than up to the task.

Blunt’s character requires the most heavy lifting, as her character flips between two very different personalities, but it is O’Connor who guides the audience carefully through the entire movie. Much like his turn in “Wake Up Dead Man” (2025), his passionate performance propels the rest of the ensemble along with him.

Domingo’s character doesn’t have quite as much to do, but he is wonderful regardless. It takes him nearly the entire movie to meet Blunt and O’Connor, but when he does, he pushes them to their limits in an emotional sequence that reduces the theater to gasps.

The rest of the supporting cast excels, too. Eve Hewson is perfectly cast as O’Connor’s girlfriend, who acts as the film’s emotional, grounded heart in a story filled with spectacle. Colin Firth is also great as the film’s villain. His conversations with Hewson and Domingo are, respectively, two of the most thrilling scenes of the film, especially because they’re powered by a strange supernatural object that hurts both him and his conversation partners.

Still, the script’s attempt to make him sympathetic embarrasses the audience a bit with its obviousness, trying to humanize a despicable corporate stalker by explaining that he used to have a wife. This last-minute sympathy play is one of the script’s worst offenses, but one could also argue that the ultimate answers to the movie’s questions are a bit too literal, possibly even easy to guess.

The meaning behind these answers, as well as how the wider world reacts to them, seems to be what Spielberg is more interested in. Spielberg thinks he knows how humanity would react if — or when — the world is handed life-changing information about the universe, and his prediction is very compelling.

However, for anyone who doesn’t care about camera movements, existential themes or the modern movie landscape, seeing “Disclosure Day” is still a very good idea. It’s a rollercoaster ride reminiscent of the glory days, where everything Steven Spielberg touched became the biggest movie in the world, and his newest movie is more than worthy of standing right alongside them.

Malcolm Todd is in his feelings right now, and his latest album, “Do That Again,” isn’t afraid to show it.

Using his familiar mix of alternative and R&B sounds with lyrics that are unabashedly intimate, Todd’s third album tells it like it is, which is both its greatest strength and its greatest weakness. Although the new songs are sonically consistent with his established sound, the lyricism and musicality of “Do That Again” fall flatter than his previous works because they don’t take any big risks.

The opening song, “Jean Skirt,” is short and sweet but provides a great introduction to the album, ending with a bang and high energy that leaves the listener anticipating more. But the transition into the next song is harsh, as “Obsessica” begins with softer strumming and a slower tempo.

The song is characterized by smooth harmonies and twinkling instrumentals, reminiscent of Todd’s 2025 song “Who’s the Fool.” The lyrics discuss his obsession with an unnamed girl, who later turns into Stacy, Macy, Tracy, Rebecca, Felicia, Brandy and so on. He sings “I’m a Virgo, you’re a Taurus / Chart says no, let’s just ignore it.” The slightly humorous lyrics, mixed with the earnestness of Todd’s voice, work perfectly to coyly charm the listener.

Humor and sincerity overlap frequently across the album, in tracks such as “Malcolm In The Middle.” The track is one of a few standouts, as Todd experiments with an almost cartoonish sound that works perfectly with the title and subject matter.

The two lead singles of the album, “Breathe” and “I Saw Your Face,” remain some of its strongest songs. “Breathe” has all the ingredients of a Todd song that fans know and love: cheeky lyrics and a tune that easily gets stuck in anyone’s head.

Alternatively, “I Saw Your Face” shifts away from his playful persona into a more serious perspective, as Todd explains why he let go of his love and why he regrets it. The song uses a memorable guitar riff and softer vocals as Todd sings, “You hate me now, but I loved you first.” In both the sound and lyrics, Todd expertly illustrates the feelings of regret and heartbreak.

Continuing this theme in “Difficult Love,” Todd pleads with the aforementioned ex to “Break [his] heart again.” The song, although consistent with Todd’s confessional tone and theme, struggles to stand out — not just within the album but within his entire discography. It could easily be placed in his previous album and go unnoticed, as it sounds similar to songs like “Doll.”

“Ain’t That The Truth” struggles with a similar problem: Although it’s catchy, it’s boring compared to other pieces and showcases the downside of Todd’s straightforward lyricism. Its short runtime also ensures the track is lost within the abundance of better tunes on the album.

However, the following song, “Gun To My Head,” begins slowly but regains its power with hard-hitting lyrics and is a highlight of the album. The song perfectly balances an upbeat melody with slower moments using a mix of piano, guitar and layered gentle vocals. The song’s subject matter also creates a refreshing irony, showcasing exactly why Todd’s sound has become so recognizable.

In that same vein, “X’s & O’s” is sure to become popular because of its catchiness and consistency with other ballads in Todd’s discography. The lyrics are simple and repetitive, but it seems intentional as he exclaims “Sing!” during a portion of the chorus. The electric guitar particularly shines in this track and pairs well with Todd’s rougher vocals.

”Lonely Song” is one of the few on the album that takes a risk, as it samples the 1964 song “Mr. Lonely” by Bobby Vinton. The sample works as it only uses part of the tune and a few lyrics of Vinton’s piece. Todd reflects on his loneliness, distressed that “I’m getting old, I’m twenty-two,” but “I only know how to be twenty-one.” But all the risks don’t pay off, as aside from a few witty lines, Todd’s lyrics are heavy-handed, with rhymes that closely resemble Dr. Seuss.

The title track concludes the album’s thematically regretful tone. Todd repeatedly sings “Do that again,” overlapping with him saying “I’m sorry.” The song attempts to provide closure with a mix of slightly upbeat but slower instrumentals. It’s a well-executed ending to an album that reflects the ups and downs the singer has felt in this complicated relationship.

Although “Do That Again” remains on the safer side, Todd’s sincerity and vulnerability shine through any lyrical flatness or sonic repetition. The album may sound reminiscent of his past, but ultimately, maybe that’s the point.