Baggage (2026): Surrealistic Visual Language and Confront the Past
Baggage’s experimental mixed formats visualized a woman’s brave inner journey of visiting the museum of her fragmented memories.

Jack Irish has no shortage of friends, but family members are few and far between. His wife was murdered by an ex-client and his father is a fading photo on the pubs football wall of fame. So when Des Connors, the last link to his dad, calls to ask for help in the matter of a missing son, Jack is more than happy to lend a hand. But sometimes prodigal sons go missing for a reason... As Jack begins to dig, he discovers that Gary Connors was a man with something to hide, and his friends are people with yet darker and even more deadly secrets.
Baggage’s experimental mixed formats visualized a woman’s brave inner journey of visiting the museum of her fragmented memories.
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.
KIMI is the main character of this film and as much as I wish it was Angela Childs played by Zoe Kravitz, it isn't. KIMI is a smart device that works not unlike Amazon's Alexa and Google's Nest assisting in anything from home purchases to music playing all under the guise of only activating when in use.
It doesn’t offer an absolute answer for the dialectical ethical questions that emerged in search of justice but portrays the characters as living people beyond the identities of victims.
Few movies deal with aging (particularly aging women) with as much compassion as Relic does. Yet it’s not sickly sweet and not a soapbox rant against ageism. Relic simply is, allowing the horror to seep in quietly and carefully.
“It's not ghosts. It's not supernatural. It's... It's America. And it's everywhere.”