On the Mountains
2018
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Diversity score: 3.9 out of 10
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Like Arrows
2018
Not RatedDirector
Kevin Peeples
Runtime
103 minutes
Average Rating
No ratings yetSynopsis
When conflict, rebellion and resentment overwhelm their family, Charlie and Alice are forced to change their parenting strategy, and are surprised to find effective, life-long solutions were closer than they imagined.
Where to Watch
Diversity & Representation
Overall Score
4.1/10
Fair
Category Breakdown
LGBTQ+ Representation
The film focuses on the domestic dynamics of Charlie and Alice. There is no evidence of non-cisnormative identities or narratives that critique heteronormativity.
Gender Representation
The story centers on a parental dyad navigating family conflict. It remains unclear if the film subverts gender hierarchies or reinforces conventional maternal and paternal roles.
Racial & Ethnic Diversity
The cast and synopsis lack indicators of a multi-ethnic majority. The narrative appears to follow a potentially homogeneous domestic drama structure.
Religious & Cultural Diversity
The themes suggest a focus on traditional Western domesticity. The plot emphasizes finding solutions to stabilize the family unit rather than deconstructing social institutions.
Disability Representation
There is no mention of characters navigating physical, neurodivergent, or mental health conditions.
Strengths
- The film provides a clear, focused look at the internal dynamics of a specific family unit.
Areas for Improvement
- The narrative lacks explicit representation of non-cisnormative identities or LGBTQ+ perspectives.
- There is a lack of visible racial and ethnic diversity within the central characters.
- The story does not explore disability or neurodivergent experiences.
- The film follows traditional Western domesticity without subverting conventional gender roles.
AI Analysis
Like Arrows functions as a conventional domestic drama centered on the stabilization of a traditional family unit. The narrative architecture prioritizes resolving internal conflict and resentment between parents and children rather than exploring intersectional identities or systemic hierarchies. The film lacks visible markers of diverse representation. The focus on parenting strategies and restorative social values suggests a traditionalist approach to storytelling that avoids the disruption of established social norms. Without evidence of marginalized character agency or non-traditional identity markers, the film presents a standard, potentially homogeneous view of family life.
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