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 life of a young single mom. Endless fuss and attempts to make money. Mom is so exhausted that she almost forgot about her daughter, for whom she does everything. But the baby’s world is full of miracles and love for mom. And then one day the usual attempt to feed the girl with porridge makes her mother change her attitude to life.
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.
When you don’t factor in the plethora of inferior sequels that have been produced, Luca is one of Pixar’s simplest and most unassuming films in years — and there is absolutely nothing wrong with that. The film thrives on being a visual feast with a warm message for all ages, so much so that its unoriginal storyline doesn’t feel that big of a problem.
While prioritizing production value over substance, Flood depicts an emotionally taut family drama set during the farmland flooding of the Franco-Dutch war.
Although Christmas is a time of year for love and cheer for all, holiday cinema has not always represented diverse communities. Being a holiday with Christian origins, much of its media consists of straight white families or straight white romances. Luckily, modern years have been bringing with them plenty of POC and LGBTQ+ representation that the holidays so desperately need.
In Stowaway, director Joe Penna narrates the story of a starship crew (Anna Kendrick as Zoe Levenson; Toni Collette as Marina Barnett; and Daniel Dae Kim as David Kim) struggling with serious technical problems on a two-year mission to Mars. During the trip, they discover aboard the presence of Michael (Shamier Anderson), a stowaway who jeopardizes everyone’s life on board.
Rules are nowhere to be seen in the harsh unfiltered reality of ‘Fair Play.’