L'Atlantide 

There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.

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.

'También la Iluvia' exploits Indigenous peoples' fight against the privatization of water in order to tell a story about Spanish characters.

Although Tuner is technically a heist movie, music and sound are woven into almost every aspect of Niki’s story. That’s what made Tuner such a pleasant surprise. I expected a film about music and discovered a heist movie, only to find that music was still at the heart of it.

A recent look at gender and racial diversity in film shows some signs of progress. However, white men still make up the vast majority of actors and directors in top-grossing films.

The newest Pedro Almodóvar movie, Pain and Glory, focuses on an aging and debilitated filmmaker, Salvador Mallo (played by Antonio Banderas) reflecting on his life in his old age.