Polarizing Polar: An Exploitation Film For the Modern Viewer
In the shadow of towering film production companies lived dozens of grindhouses, genres, and low-budget films deemed too “unclean” for the modern film audience.

In December 2024, students in Tbilisi occupy university buildings, demanding the release of those detained during pro-European protests. The longest-lasting resistance comes from members of the Theater and Film University’s student movement. The building’s lobby turns into a space for performances, meetings, and discussions. Soon, the rector confronts the students, the administration demands they vacate the occupied space, the ethics committee suspends 10 students, and police fine the strikers 5,000 [GEL] each. On the very first day of the protest, two Theater and Film University students pick up a camera, capturing events as they unfold, including the most intimate moments. The main character of I Am Not Neo is 18-year-old Temo Vacharadze, who finds himself at the heart of the resistance, convinced he has a special role to play in this fight.
In the shadow of towering film production companies lived dozens of grindhouses, genres, and low-budget films deemed too “unclean” for the modern film audience.
Yes, "Nope" is definitely about the modern obsession with turning tragedy and horror into a spectacle for people’s enjoyment. But it's also about the power of looking, who has the right to look, and what happens to those who are looked upon.
The characters aren’t likable, the story is predictable and the humor is either disgusting, obnoxious, or uncomfortable. The Wrong Missy is a mess of a film and it’s not really worth your time.
Ultimately, Wicked is a story about the cost of being othered, the pain of being misnamed, and the quiet revolution of standing in your truth.
Hanna Bergholm's 'Hatching' shows us that the modern version of the cardboard world trope is social media.
Netflix’s new comedy drama, Don’t Say Good Luck, is a heartwarming tearjerker as well as a love letter to the transformative power of being a theater kid. Directed by Julia Hart, Don’t Say Good Luck follows Sophie (Sunny Sandler), a theater kid who finally gets the lead role in her school’s production of Waitress - just as she finds out her mom Elizabeth (Melanie Lynskey) is dying of cancer. While the singing is by no means spectacular and Sandler’s acting is stiff, the film is grounded in the moving performance of Lynskey as a mother who wants nothing more than for her daughter to achieve her dreams, even if she can’t be there to see them.