
Leon arrives in Eva's life one morning, on the terrace of a café. The little boy settles down, asks for hot chocolate. The young woman, 35, without children, takes her home, calls social services and learns that Leon has run away from home. Eva has to bring him back but eventually delays the deadline. She who leads an idle existence, sheltered from need, attaches herself to the little boy. Called to order by the authorities, she ignores and tells Leon that they are now on the run. Together, they go to Italy in search of the mother of the little boy ...
There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.
Curry Barker’s film, Obsession, soars in success this past May leaving everyone who has watched it in extreme chills and disturbance. And taking it to new levels of why men are always the root of horror films even when they try not to be.
'Living' dives into many themes that we can all understand regardless of our cultural backgrounds. We can see this through the shared similarities between 'Ikiru' and 'Living'.
Can a piece of bad representation truly be reclaimed? We Are Pat (2025) attempts to answer this question.
A pop star at Radio City Music Hall gets the opportunity to change herself to save her music career.