Signature Move

A secret new romance with Alma forces Zaynab to confront her complicated relationship with her recently widowed mother. In this coming-of-age Muslim melodrama, Zaynab copes by taking up Lucha-style wrestling.

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  • ★★★½ review by Joan on Letterboxd

    movie was okay but the theatre experience i had is probably one of the best one i had. i was in a room full of gay women & met this nice lesbian couple. one of them gave me a cookie from panera bread. it was good

  • ★★★½ review by Marian on Letterboxd

    this is what i needed in 2017

  • ★★★★ review by Siân on Letterboxd

    [When you watch festival screeners for an interview and forget to log 'em.]

    "On the surface, Signature Move is a coming-of-age romantic comedy. Zaynab, a young Muslim woman, is living with her recently widowed mother while attempting to keep details of her life from her, like her sexuality and newfound interest in luchadora-style wrestling. She meets Alma by chance at a bar one night and… you know how it goes.

    Except when you watch Signature Move, you very quickly realize that you are watching something incredibly special. Special not because it’s a love story between a queer Muslim woman and Mexican woman and not even because of the wrestling. What makes this movie special is how relatable it is, no matter what your background or orientation might be. We’ve all struggled with finding ourselves and being comfortable with who we are; we’ve all met that person who rocks our damn world; we’ve all tried to figure out how our parents fit into our lives as we grow.

    Most of all, Signature Move is a story of women and their strength—figurative and in-a-luchadora-mask literal."

    Read my interview with filmmaker Jennifer Reader HERE.

  • ★★★½ review by Nick Isaac on Letterboxd

    A fusion burrito of everything that makes America great - Everything your Trump voting uncle would hate.

    See my full SXSW review over at Talk Film Society.

    SXSW 2017: Signature Move

  • ★★★½ review by Nathan on Letterboxd

    a little sad to see the peculiarities of Reeder's style diluted somewhat by someone else's script but like this story could not have come just from her obv and i'm grateful for the influence of the cowriter/producer/star in making it what it is

    at times the heavily landing jokes or symbolism feel characteristic of reeder's blunt emotional directness, at times they feel more generally like clunky writing. probably it's not worth discerning between the two, whether it works or not is up to more than intentionality... i just miss the surrealism of Reeder's short films that allows those moments to work as well as they do there

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