JFK: The Lost Bullet is a documentary by National Geographic that tries to answer the question: "Who killed John F Kennedy?" It re-evaluates the famous Zapruder film that shows the murder of JFK and states that Zapruder stopped filming and missed the first shot fired which changes the timeline of the bullets fired making it possible that Lee Harvey Oswald could have fired three shots. It argues that the magic bullet that hit JFK and Governor John Connally was in fact possible. The documentary also features other home movies taken on the day.
What makes a person different, and who is considered normal? Based on a true story, The Unbreakable Boy follows the life of Austin LeRette, a young boy with autism and osteogenesis imperfecta, as he navigates daily life with optimism and resilience.
The documentary depicts the indigenous people of Mexico with sublime reverence, highlighting a generational harmony with the land.
This is not McDonald’s. This is something different.
Canvas illustrates the story of a grandfather who, after suffering the loss of his beloved, struggles to reclaim his love for painting.
The Bluff unravels its mystery slowly, opening on the capture of a ship captain named Bodden (Ismael Cruz Córdova) and the swift execution of his entire crew. Then, viewers are treated to a tranquil British settlement in the Cayman Islands in the 1850s, where a mother bakes a coconut birthday cake for her son in a house suspiciously rigged with makeshift tripwires and burglar alarms. As it turns out, that mother is Priyanka Chopra’s quick witted and resourceful ex-pirate Mrs. Ercell Bodden, and her husband’s captors are on the way to the island to hunt her down for abandoning them and stealing their loot. The pirates of the Libertas land on the beaches of Cayman Brac, and the scenes that follow show a Viking-esque slaughter of half the island.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
