¡Beso de lengua! (2024)

A dark film in the tradition The Brother’s Grimm.

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.

Can a piece of bad representation truly be reclaimed? We Are Pat (2025) attempts to answer this question.

These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.

Baggage’s experimental mixed formats visualized a woman’s brave inner journey of visiting the museum of her fragmented memories.

How closely should film adaptations follow their source material? Let's take a deep dive into "Norma Rae", and find out.