In a charming party store, a remarkable piñata named Alejandro, crafted with love by an elderly artisan, longs to find his purpose. Seated in the store's window, Alejandro is repeatedly passed over by customers, deemed too expensive. One day, a man enters and buys him, leading to an unfamiliar celebration where a little girl unwittingly becomes his executioner. Amidst the joy, Alejandro meets his fate with courage, shattering into candy and dreams. "Alejandro!” is a wordless, poignant tale exploring identity, acceptance, and the unpredictable path of life, leaving audiences with a profound appreciation for the beauty and fragility of existence.
Disguised as a cosmic highway horror, Alexander Ullom’s It Ends is a beautiful, albeit terrifying, metaphor for learning that if you want to survive adulthood and become your own person, you have to learn to let people go.
Despite its simple premise, “imagine being a woman,” the horror behind "Men" feels fueled by a hollow understanding of the insidiousness of misogyny.
Women who pray together, play together. Very rarely would I describe a story about a group of punk rockers as “whimsical”, but such an engaging array of visual and comedic components make this stand-out new series the star that it is.
A pop star at Radio City Music Hall gets the opportunity to change herself to save her music career.
The film follows the biblical story of Moses, from his time as a prince of Egypt, to a leader for the people of Israel. It’s a film that works brilliantly in animation, and is one that both children and adults can; enjoy despite its religious contexts, it is friendly to general audiences.
America is the crux of the storyline: she is the only person in existence with the power to jump between universes. As central as America is to the Multiverse of Madness story, she somehow didn’t get that much to do.
