The Women and the Murderer: Made by Women for Women
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.

The writer (Riyad) marries the beautiful (Camelia) despite her previous relationship with (Azmi), his lawyer, at the same time (Azmi) marries (Manar), Riad's secretary. Manar doubts the renewal of the relationship between Azmi, her husband, and Camellia. She manages to record a tape of Camelia urging Azmi to kill Manar and Riad, and plans to trap Camellia and Azmi at her house and summon Riad to expose them.
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.
As a huge fan of Sean Baker’s Tangerine, The Florida Project, and Red Rocket, I’ve wanted to watch Anora since before it even was released. But life got in the way, my watchlist grew, and honestly, the fact that it was marketed as a romantic comedy put me off. Even with all the critical praise and the five Academy Awards it won last year, I just kept postponing it indefinitely.
The Outer Senshi get characterization and some stellar moments in the second part of the Eternal movie duo.
A homeless girl faces depression and uncertainty during the holidays.
Like all modern societal phenomenons, it started with a meme. This one highlighted that when there’s a mom in a Pixar film, she is almost without fail given striking curves that highlight the bottom half of her body following a minuscule waist. From Elastigirl to the skeletal Mama Imelda, the animation giant’s artists seem to have a fixation on making exaggeratedly curvy maternal characters.
Eternals is an interesting concept and unique visuals, but slow pacing and rushed character development suggests it should have been a mini-series.