The True Confessions of an Invisible Girl
The clever but socially-awkward Tetê joins a new school, and she'll do anything to fit in.

Yannis is staying alone at home for a while because his wife is going on a short vacation, and he lives a dull and monotonous life as a bachelor. But his bachelor life is disrupted by his new upstairs neighbor, a beautiful young woman named Katerina. Katerina has recently separated from her husband and is inconsolable. Yannis undertakes to comfort her, in a purely friendly manner at first. However, such friendships with attractive neighbors can be quite dangerous...
The clever but socially-awkward Tetê joins a new school, and she'll do anything to fit in.
Netflix’s recent Millie Bobby Brown vehicle, Enola Holmes 3, is a disappointing and confusing entry in the stellar Enola Holmes franchise. Directed by Philip Barantini, the film stars Brown as Enola Holmes, estranged sister of Sherlock Holmes, Henry Cavill as Sherlock Holmes, and Louis Partridge as her love interest, Viscount Tewkesbury. While it deserves credit for its exciting action scenes and attempts to expand the diversity of its Dickensian setting, the most recent entry in the series completely scuttles Enola’s underdog status from the first films that made her so charming and gave a touch of realism to the story of a young, unmarried woman living in London while self-employed as a detective.
Essentially 'Get Out' but for white women, 'Don't Worry Darling' has strong material with its twist reveal, but the writing and directing falter trying to execute it.
The biggest highlight of the film is easily the performance of Andrew Garfield. In his days since hanging up his Spiderman suit, Garfield has routinely churned out great performances, and Mainstream is no exception. He proves that he is willing to try anything and go anywhere in a character.
The history of Hollywood is as ugly as it is beautiful. Most notably absent from Hollywood history are Black-produced films. “They’ve Gotta Have Us” explores the rise of Black cinema.
The 1950s lesbian romance is stunning, emotional, restrained, and, simply put, one of the best movies I’ve ever seen depicting a woman-loving-woman (WLW) relationship.