17 year old Tokyo pizza delivery boy Kosuke crashes his bike into photographer Reiko and breaks her expensive camera. He promises to deliver homemade pizza to make up for her broken camera. After discovering that Reiko has moved 1,200 km away to her hometown of Nagasaki things become trickier, but Kosuke decides to fulfill his promise anyways by borrowing a moped from his workplace.
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.
Can a piece of bad representation truly be reclaimed? We Are Pat (2025) attempts to answer this question.
Holiday hijinks ensue when a recently separated couple are both accidently invited to same holiday celebration.
True crime media is notoriously obsessed with the “missing white woman” trope, and yet the vast majority of American murder victims are male, and well over half are people of color.
Bollywood's thrilling fusion of what the blind man saw and the boy who cried wolf.
'Yes, God, Yes (2019)' is a coming-of-age tale about a Christian teenage girl discovering her sexuality, the turbulence that comes with it from within herself, and the judgment from those around her.
