Emmanuelle in Space 2: A World of Desire (1994)

That gut-wrenching feeling you have while watching it is okay but needed, and you, the viewer, will be okay.

I understood post-memory as passing down stories and images of one’s experiences that are not your own. For decades, rape has been depicted in cinema through a third-person perspective, leaving the viewer to observe rape; not to experience it. 

Nick Rowland’s She Rides Shotgun is a blistering, blood-soaked road thriller that doubles as a bruised love story between a haunted ex-con (a career-best Taron Egerton) and the daughter he barely knows (astonishing newcomer Ana Sophia Heger). Fueled by white-knuckle chases, razor-tense shootouts, and quiet moments of aching tenderness, the film captures both the terror and fragile beauty of survival. It’s gritty, heartbreaking, and unforgettable—a father-daughter odyssey destined to leave audiences shaken.

Clocking in at about four hours, Stranger Things season 4 volume 2 is the length of a double feature. Despite the length and the hype, the finale still falls short of expectations thanks to poor pacing, poor character choices, and poor diverse storytelling.

I came across Urchin by chance and decided to watch it because of the title. It made me think of the spiky animal that lives at the bottom of the ocean, and the old Dickensian novels, where an urchin was an orphaned, homeless child in shaggy and dirty clothes.

The major flaw of the series is that it’s hosted on Netflix and barely makes malicious comments about it despite being focused on the lives of people directly affected by the Capitalist mentality of the OTT corporation.