Searching for Identity in Iñárritu’s Bardo
The director's latest is a dreamlike exploration of a consciousness torn between two homelands, and the implications of history and memory suspended in limbo.

A'e, a widow approaching seventy, lives with her unmarried son Shi'an. When her recently divorced daughter Shining returns home with a child, an invisible wall settles over the family. One cold winter, A'e is swindled while trying to buy herself a cashmere sweater — and the incident cracks open the old house's hidden grief, forcing each member to face what they have long buried.
The director's latest is a dreamlike exploration of a consciousness torn between two homelands, and the implications of history and memory suspended in limbo.
Netflix’s new mystery thriller, The Marked Woman (released originally as La Desconocida), is confusing. More critically, though, it commits the worst mistake a movie can make: it’s boring. From Spanish director Gabe Ibáñez, the film squanders its premise at every turn, fills the story with unlikeable characters, and lacks emotional payoff.
A historic documentary about the iconic Disney character gives viewers a glimpse into animation.
The Invitation takes a creeping look at two simple premises: reuniting with forgotten friends and new-age spiritualism. Though one seems a bit scarier than the other, the film heightens social awkwardness to a macabre level that puts an uncomfortable look on when the social taboo of grief is put on public display.
Unfortunately, People We Meet on Vacation didn’t hold up quite as well as I’d hoped.
The quiet ache of guilt sitting at the dinner table, the silence after a truth is buried, and the way pain is passed down like a name.