Underwhelming Presence
The movie opens with an empty house, cameras pan around from the perspective of what viewers are confused about at first, but turns out to be a spirit living in the home.

A murder investigation is flipped inside out in Burak Çevik's second feature, a spellbinding and surprising work that questions whether we can ever truly understand criminal motives. We begin in the present as an unseen narrator recounts the assassination of his lover's disapproving mother, accompanied by hauntingly vacant images of urban alienation and garish city lights; we then flash back to witness the first encounter between the lovers-turned-accomplices, their mutual attraction and world-weariness emerging across a sleepless night and morning after. Çevik imbues the proceedings with a stylistic confidence and willingness to bend the conventions of cinematic form to arrive at a complex, gripping double meditation on love and death.
The movie opens with an empty house, cameras pan around from the perspective of what viewers are confused about at first, but turns out to be a spirit living in the home.
Holiday hijinks ensue when a recently separated couple are both accidently invited to same holiday celebration.
The Slumber Party Massacre wonderfully combines the suspense of its horror with its commentary on gender, creating a memorable slasher classic that began a horror trilogy entirely written and directed by women.
The film centers around two young women, Becca and Sam, who were once high school sweethearts until they reconnect in their town.
Even after a history changing event, the 93rd Oscars proved it always had the space for more inclusivity in its award ceremony. But it this enough to change the boycott?
Eddington attempts to capture how media is intertwined with the uncomfortable present.