Le Bluffeur 

Hanna Bergholm's 'Hatching' shows us that the modern version of the cardboard world trope is social media.

A brief look at two Barry Jenkins films that have established him as one of the greatest filmmakers of our time.

Mona Fastvold’s nineteenth century lesbian romance is emotionally charged, restrained, and poetic without feeling forced.

It’s 2021 and what few LGBTQ+ films that are produced by major film studios continue to star cisgender heterosexual actors, rather than actual LGBTQ+ people.

Ready or Not  takes a terrifying situation and has a fun time with horror components. The film melds horror and comedy, creating a cinematic hybrid that flows like running water. Instead of being a film that embraces gut-wrenching sensibilities, it perfectly taps into the energetic nature of hide and seek.

It’s been awhile since I’ve seen a film that is jarring within the first five minutes. Being at the edge of my seat from the very beginning made me feel both excited and frightened for what was to come, and it did not disappoint. Led strongly by Jennifer Lawrence as Grace, a woman trapped in the “American dream”, this film shows that society tells us what should make us happy. Many critics describe Die My Love as being about post-partem depression, but it is so much more. After moving to a secluded home with her husband Jackson, Grace finds herself in the throes of motherhood. Feeling isolated in her physical environment and her romantic relationship, Grace suffers psychologically. Lawrence brings a sense of rawness and humor to the screen that is often uncomfortable. Robert Pattinson adds to the discomfort as her loving, yet lost husband Jackson, who cares about his wife but does not know how to help her. Lynne Ramsay has presented a film that forces us to look at the realness of life, and what happens when the promise of what should make you whole fails.