Parasite: A Para-Sight for Sore Eyes.
Is Parasite a Horror Movie? Bong Joon-ho, one of South Korea’s parasite horror movies and most prolific filmmakers, decided to grace the world with one of the bizarre and fascinating movies of 2019.

Filmmaker Gio Petti takes an in-depth look at the city's troublesome transit system in his documentary, Dude, Where's My Bus?. His nearly 2 year-long independent investigation delves into the frustrations of daily commuters in Ottawa and more deeply explores the systemic issues plaguing OC Transpo and their effects on the community. Beginning in the South End Suburbs of Ottawa, Dude, Where's My Bus? peels back layers leading to a broader investigation into issues plaguing the once model transit system. From late buses in neglected areas of the city, sprawl and the greenbelt, to the ever more controversial Confederation Line and the P3 system that built it, Petti aims to explore the impact of policy missteps and broken promises on Ottawa's transit users, with an optimistic look to the future.
Is Parasite a Horror Movie? Bong Joon-ho, one of South Korea’s parasite horror movies and most prolific filmmakers, decided to grace the world with one of the bizarre and fascinating movies of 2019.
A 3D animated film centered on chasing fame in the humble stomping grounds of middle school. Unfortunately, while the protagonist dreams big, the plot falls short and fails to capture even a semblance of diversity.
'También la Iluvia' exploits Indigenous peoples' fight against the privatization of water in order to tell a story about Spanish characters.
This coming-of-age Mexican movie is about a group of school children who fulfill their dreams.
Hiring bias is something that's rampant in all industries (even unconscious bias). But writing a script totally neutral not only opens the door for more diverse actors, but also for characters that are people first.
Naked Gun: The New Police Squad Team delivers exactly what fans want: relentless, expertly crafted chaos that honors the original while cranking everything up to eleven. The gags fire at machine-gun pace—sight jokes layered with wordplay and physical comedy so outrageous it borders on art. It's gleefully self-aware without being cynical, silly without being stupid, and maintains that perfect ZAZ-style balance of treating absolute absurdity with complete seriousness. The film knows exactly what it is: a comedy missile designed for maximum laughs, and it hits its target with surgical precision. Pure, unhinged entertainment that proves spoof comedy still has plenty of life left in it.