Feed Me 

Hanna Bergholm's 'Hatching' shows us that the modern version of the cardboard world trope is social media.

Bong Joon Ho’s masterpiece, Parasite (2019) became one of the few international films to break into the American mainstream.

Friendships are tested when two girls have a crush on the popular boy at school.

This incarnation of Animal Farm is filled with the generic plot points, immature humor, cardboard characters and visual flaws that you have come to know from today’s lesser children’s films.

A film for the post-MeToo era that inverts the narrative with an ironic coda, Tár depicts the duality of a sensitive artist capable of great evil and vile manipulation.

Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.