'Tár' — The Monster's Side of Paradise
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.

The family travels to Zebegény for their holiday, and the following day the seventeen-year-old Vera also leaves for Lake Balaton to pick peaches in a voluntary camp there. Her boyfriend, Gyuri, goes to a film shooting. Gyuri would like to make the best of the day in the absence of parents, but Vera refuses him. She becomes jealous at once, however, when she discovers Gyuri's previous girlfriend in the shooting team.
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.
With mismatched eyes, a willingness to experiment with hair color and style, and a rail thin frame, Bowie always drew attention. But he shunned gendered attractiveness, creating his own space somewhere in between. This hallucinatory and often nonlinear 2022 documentary is a perfect salute to David Bowie’s life and career. Rather than interviewing those that knew Bowie, the standard convention for biographical portraits, director Brett Morgen mostly lets the artist’s images, performances, videos, and words speak to capture the essence of the artist. Bowie was more than just a pop star. He painted, sculpted, acted in films, and was a thoughtful and articulate person who gave sincere answers to even the most shallow interview questions.
The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.
The more biting satire is reserved for those on top of the power structure, such as the police, while those occupying lower levels are given more nuance and likability, even if they operate on the wrong side of the law. This principle gives Deep Cover its heart.
It’s dark, uncomfortable, and there are things that don’t make sense.
Lady Bird (Saoirse Ronan) tells her mother (Laurie Metcalf) that she wants to live through something — something that matters.