Hamnet: A Passage through Time to the Magnificent Forest
A family drama is woven with quiet yet powerful forces of words and nature.

Perpetually picked on and endlessly neglected Sybil Pittman finds little joy in her life...except for her massive doll collection that has grown to perverse proportions! Every day, Sybil locks herself in her basement, broadcasting her doll restoration vlog all by herself, that is until the remnants of a mysterious doll - the dreaded "Baby Oopsie" comes into her life! After carefully restoring the doll, Sybil comes to realize that the tiny terror is exacting revenge on her oppressors, mercilessly murdering them one by one. And while Sybil finds herself enjoying Baby Oopsie's bloody brand of vengeance, she soon changes her tune when the demonic toy turns its evil attentions to Sybil and those she actually cares about.
A family drama is woven with quiet yet powerful forces of words and nature.
"Terrace House" improves on the standard reality TV format by affording its cast privacy, freedom, and respect.
"A Drowning Man" (2017) explores the unseen aspects of the Refugee Crisis. In, 15 far-too-short minutes, viewers are given a detailed snapshot of what it's like for a refugee to drown in the waters of poverty and otherness while trying to navigate a land whose promise has worn off, and only 'strange' remains.
Nick Rowland’s She Rides Shotgun is a blistering, blood-soaked road thriller that doubles as a bruised love story between a haunted ex-con (a career-best Taron Egerton) and the daughter he barely knows (astonishing newcomer Ana Sophia Heger). Fueled by white-knuckle chases, razor-tense shootouts, and quiet moments of aching tenderness, the film captures both the terror and fragile beauty of survival. It’s gritty, heartbreaking, and unforgettable—a father-daughter odyssey destined to leave audiences shaken.
I’m disappointed in The Woman in Cabin 10, but that’s at least in part because of my love of Ruth Ware’s novel.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.