'Hatching' - Social Media as the Modern Cardboard World
Hanna Bergholm's 'Hatching' shows us that the modern version of the cardboard world trope is social media.

Zinga, a gypsy woman, is sentenced to death by guillotine for her crimes, claiming to be innocent. She's given a choice, to lose her head by the blade or to be given over to the wealthy, incarcerated Marquis de la Croix. Zynga chooses the Marquis. Now the Marquis has the girl's life in his hands and can do with her whatever he pleases. But what pleases him will make Zinga wish she had chosen the quick death of the guillotine.
Hanna Bergholm's 'Hatching' shows us that the modern version of the cardboard world trope is social media.
The one-way journey went to the desert that refused to offer an answer or a transcendence.
This current year, as well as the past several, has seen a slowly building increase in something the horror genre has required for quite a while in this critic's opinion...originality. I've stated before that I am very hard to please when it comes to this vein of the film industry's offerings, always leaning more towards that which sends chills through my very being in lieu of buckets of blood and gore.
CODA' is about a child of deaf adults torn between staying with her parents and her dreams of pursuing music. This film is a step forward for deaf representation and disability in movies despite negative messages about the burden of actors deaf deafness.
I write for a diversity-focused film review blog, so I’ll be honest: I really wanted to like Pretty Lethal. Starring Maddie Ziegler, Lana Condor, Iris Apatow, Avantika, and Millicent Simmonds, Amazon Prime’s new thriller seemed like it would be a girl power movie about dancers with a horror action twist. Sort of a Suspiria for teens. But with shallow and unlikeable characters, a confusing plot, an overreliance on violence, and cringey dialogue, any fun the movie started out with was quickly lost. What was left was a faint echo of greater horror movies about dancers made before.
There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.