Muller personaxe (C) 

It was always people for Joe, and he ultimately found them at the end of a long, painful, yet illuminating quest for self-discovery outside of one, confident constant - his bisexuality.

Baggage’s experimental mixed formats visualized a woman’s brave inner journey of visiting the museum of her fragmented memories.

Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.

This reboot of The Wonder Years is told from the lens of a Black man.

It’s the most loving tribute to cinema and to Ingmar Bergman, set in world that feels so habitable that I felt like only re-watching this for eternity, because of how inviting it looks and feels.