Method to My Madness 

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.

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.

Elsewhere is less than fourteen minutes long, but it delivers a more emotional impact than most feature-length films. 

In this short film, writer/director Nikita Hattangady focuses on Jai, a starving artist rooted in the latter category. Though unhoused, he works hard.

A film that focuses on an algorithm for a dating app that will bring viewers in for a surprise.