The Blues, and Two Contradictory Films That Claim It
Crossroads follows a young guitarist on a journey through the American South in search of blues history and his own voice.

After helping a broken family heal and finally confronting his own past, Tristan—the man who once hid from trauma inside a panda suit—hasn’t entirely left the panda behind. Now on a self-proclaimed "Panda Sabbatical," Tristan crosses paths with Matt, a struggling filmmaker whose life has quietly unraveled after a failed engagement and a growing sense that he’s wasting his potential. When Tristan recruits him for a bizarre weekend retreat in the woods, what begins as an escape from reality quickly spirals into something far more chaotic—and unexpectedly transformative. At a secluded cabin, their journey collides with two women carrying their own emotional baggage: Zoey, a widow unable to move on from the love she lost, and Cece, her reckless, no-filter best friend determined to drag her back to life. When a booking mix-up forces all four strangers to share the same space—along with an eccentric luchador host offering a "life-changing" wrestling seminar.
Crossroads follows a young guitarist on a journey through the American South in search of blues history and his own voice.
A film loosely based on the fairy tale Hansel and Gretel, with major twists to the original story.
Inuit girls use their Inuit tradition to hunt down alien monsters, enough said.
Directed by George Miller, Thunderdome continues to follow the titular character through post-apocalyptic Australia.
The second entry of the Five Nights at Freddy’s series released recently, garnering very divisive reviews amongst both fans and critics.
It’s 2021 and what few LGBTQ+ films that are produced by major film studios continue to star cisgender heterosexual actors, rather than actual LGBTQ+ people.