Mara Mara 

A Girl Walks Home Alone At Night, though its feminism may be unintentional, cannot exist without its focus on women reclaiming power. The movie is feminist by definition, even if Amirpour didn’t write it with that in mind. A Girl Walks Home Alone At Night is mesmerizing, poetic, and stunning, both for its portrayal of feminist ideas and its powerful story that is both horrific and subtly romantic at once.

The French-born director Laure de Clermont-Tonnerre’s strategic choice to entrust the interpretation of a conventional, feminine character to a non-binary actor pays off: Corrin’s Lady Chatterley is awkward, edgy, and uninhibited at the same time. 

Fjord, like its story, is not a conclusion, but a beginning. 

Knives Out doesn’t just defy the whodunit narrative, it uses the weaknesses to its advantage. It’s well aware of the genre’s faults and tropes

Cassie, a musician, and Luke, a man serving in the Marines, form a false relationship and keep it a secret.

A brave Indian woman rises from an oppressive background to become an inspired leader for women and men alike around the globe.