Nebbishy filmmaker Joanna Arnow documents her yearlong relationship with an open-mic poet provocateur. What starts out as an uncomfortably intimate portrait of a dysfunctional relationship and protracted mid-twenties adolescence, quickly turns into a complex commentary on societal repression, sexuality and self-confrontation through art.
The Djinn is about childhood traumas and lifestyle changes. It tells the story of Dylan (Ezra Dewey), a mute boy who blames himself for his mom’s death. He also condemns himself for being speech-impaired, and he thinks that if he did not have that condition, everything could had been different.
When a powerful church leader is found dead, Benoit Blanc enters a tight-knit community where everyone has secrets, but not everyone is fully developed.
One of the great achievements of this film is its ability to challenge the mind and to force you to try to process information in a different way than you’re used to.
Can a piece of bad representation truly be reclaimed? We Are Pat (2025) attempts to answer this question.
What seems like such a simple story of survival is so much more than that—it’s a story of family, and of war, and of destruction. It’s painful to watch, but not in a bad way. It makes its audience reflect on their own actions, and in how they are complicit in the sufferings of others as the adults in this film are. Grave of the Fireflies does not hold back from being heartbreaking, and it shouldn’t. It tells a message that needs to be heard decades after the war, and a story that cannot be forgotten by history.
The makings of a great midseason filler episode that would connect in many different directions. This is a police drama filler with a guest director.
