The Women and the Murderer: Made by Women for Women
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.

Medical student Aglaya Streltsova gives herself a cosmetic injection the night before her wedding, resulting in her death from anaphylactic shock. On Christmas night, she is resurrected in a coffin and miraculously gets out of it. In a cafe at a gas station, the girl runs into her classmate Savich. Trying to get back into university, the future pathologist writes a scientific study on the resurrection of the dead. Helping the girl return to the world of the living, Savich simultaneously makes her the object of his research. To Aglaya's surprise, none of her loved ones are happy about her return, including her fiancé, who is dating someone else.
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.
“I’m always interested in exploring female fantasy, and the sexy witch is a loaded archetype that is simultaneously about men’s fears and fantasies about women, and women’s feelings of empowerment and agency. So whereas we are used to seeing the sexy witch or the femme fatale from the outside, I wanted to explore her from the inside.” - Anna Biller, on why she made The Love Witch
As Andrew’s life begins to change, his passion for drumming soon becomes a spiraling obsession in the pursuit of perfection. Through the use of disturbing and abusive training methods, Fletcher puts Andrew through emotional and physical agony.
Based on Bethany's autobiography "Soul Surfer: A True Story of Faith, Family, and Fighting to Get Back on the Board," this heartwarming film tracks the struggle to pursue normalcy and ambition after a major injury.
Izzy and Prince Thomas learn that taking control of their own destiny requires following their hearts and making their own decisions.
All in all, “Event Horizon” is a cinematic misfire, begging to be perfected in the future. While it possesses an array of admirable visuals, the film leaves much to be desired. If only we could see Anderson’s preferred cut, which featured more character development and tortuous imagery. In the meantime, I have a catchphrase for this film: In space no one can hear you snore.