Last Christmas: Emilia Clarke Stopped Eating Hearts and Decided to Win Them.
In Paul Feig’s newest comedy, Last Christmas, Katarina (Emilia Clarke) didn’t give a heart, she got a heart, you see.

The L.A. police find two bodies in a fancy house and suspect the wife of one victim. Dr. Ellis, a hypnotherapist, takes her back in time; with the police listening, a pattern of spousal abuse emerges. When each trance ends, however, the woman, Carolyn Walker, wonders if those repressed memories are true. Dr. Ellis guides her through her trial, testifies himself, and continues treatment after the verdict is in. Carolyn's memory and well-being get worse after the trial, not better. She misses some therapy sessions, and Dr. Ellis comes to see her at home. Snatches of memory come and go. Can he help her remember what really happened? Are the cops satisfied justice has been done?
In Paul Feig’s newest comedy, Last Christmas, Katarina (Emilia Clarke) didn’t give a heart, she got a heart, you see.
In Deaf, the Spanish director Eva Libertad explores pregnancy and motherhood from the perspective of a deaf woman. Her movie examines how the world imposes the notion of disability on her main character while she actually does not feel disabled herself.
An animated short film that never gets old, especially with iconic characters from the Disney series.
Disney has kept its word and allowed a new generation of Black and/or African storytellers to tell their own original stories. The question remains, will the public keep their word?
Years before Mexican director, Alfonso Cuaron, was winning Academy Awards for movies like Gravity (2013) and Roma(2018), he directed a small, intimate film about two best friends who decide to embark on an improvised road trip to spend time with an older, attractive woman who miraculously agrees to go with them. Y tu Mamá También is a deep journey into the raw sexuality and friendship of the young protagonists, as well as a subtle social and political commentary on Mexico at the time.
'The Worst Person In The World' follows a part of life I don't see often portrayed on-screen: extended adolescence.