The Blues, and Two Contradictory Films That Claim It
Crossroads follows a young guitarist on a journey through the American South in search of blues history and his own voice.

A highly experimental film presenting a story out of chronological order taking place 15 years after a near-apocalyptic catastrophe, about four traumatized 14 year olds who are tasked with piloting massive humanoid decisive weapons called Evangelion, the psychologically maladjusted adults who handle and command them, and the events and forces that affect them or which they take part in as they engage massive hostile invaders known as "Angels."
Crossroads follows a young guitarist on a journey through the American South in search of blues history and his own voice.
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.
'Legally Blonde' remains a standard of feminist filmmaking over two decades after its release, although its poor treatment of racial and sexual minorities make it a product of its time.
Fire Island is the more inclusive film of the two with the bi-phobic definition of pansexuality in The Thing About Harry and its obvious lack of colour on screen
In Jeymes Samuel's history-infused, neo-spaghetti western, Black women are center stage with a fresh hip hop mixtape keeping rhythm in the backdrop.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.