Concert in solidarity with Ukraine - Deutsches Symphonie Orchester Berlin 

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.

Ruben Östlund muses about his characters, “As soon as you get close to a person, you see them as just another human being”. It is widely recognized that aboard the luxury yacht in ‘Triangle of Sadness’, the different groups of people represent a small society as a commentary on classism and gender binaries.

A refreshing twist is that all the kids’ powers are…kind of useless. There’s a kid who can only move in slow motion, a kid who has every power in the world but can only use them randomly, and our main character Missy who has no powers at all. The thesis of the film seems to be that it doesn’t matter what kind of powers you have, its the way you use them, which is good for the warm and fuzzies.

In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.

Films about casinos have long been a favorite of Hollywood. This is unsurprising, as they're often tied to magnetic characters whose lives revolve around luxury, spectacle, and even danger.

The Resort has an excellent climax surrounded by disappointments. Somehow, at a mere 75 minutes, this movie still manages to be 70 minutes too long.