“You Can See Everything” and it’s a Lot
This glimpse into this world is so captivating that it is an easy must-see, nearly flawless, and exceptional in every way.

After André Levesque missionnaire, Oksana Karpovych is back at the RIDM with her first feature, which she filmed in her native country, Ukraine. To take the pulse of the country, the filmmaker adopts one of documentary cinema’s most prolific sub-genres: the train film. Filmed entirely in the old, run-down, overcrowded passenger trains used by ordinary Ukrainians, the film captures conversations, observes the landscape, and accompanies several protagonists on their journey; they open our eyes to popular preoccupations in a country that seems perpetually anchored in its highly visible Soviet legacy. A fine lesson in listening and humanity.
This glimpse into this world is so captivating that it is an easy must-see, nearly flawless, and exceptional in every way.
"Ladies First" has a fundamental misunderstanding of what's feminine because of the patriarchy and what women do because they genuinely enjoy it.
Elio could be seen as fantastic piece of representation, showing lonely children who feel ostracized that they are not alone. That is, unless you look behind the curtain.
To say Hollywood has had a troubled past is the understatement of the century. In Ryan Murphy’s (American Horror Story) new Netflix series, Hollywood, that past is confronted and even rewritten.
I’m still trying to comprehend the psychological and moral implications of their fascination with each other, or why their almost written-in-the-stars depth of connection makes so much sense.
Digger is a smart film, one that takes what could have been a “seen it before” message and gives it new life.