
Laura, a 25-year-old woman, tormented by her painful past, decides to leave it behind by setting out on a quest for revenge with Hernán, her faithful companion and bodyguard. But the sudden outbreak of a worldwide infection that turns humans cannibalistic forces them to stay with a group of strangers struggling to survive. Laura must struggle with her inner demons and postpone her revenge, while living with the other survivors; Dario, a film student convinced that he must document the situation; Mariano, a soldier who lost all his equipment and Horacio, a man who has nothing to lose.
From its visually stunning opening credits, which show women dancing through a forest to musical rhythms that sound almost primal, to its quiet, heartbreaking final frame, Mona Fastvold’s historical rendering of the Shaker religious movement is an experience that will stay with me for a long time.
'Legally Blonde' remains a standard of feminist filmmaking over two decades after its release, although its poor treatment of racial and sexual minorities make it a product of its time.
'Jungle Cruise' is fun if you can ignore the racism of the ride it’s based on and the film’s bland, stereotypical characters.
"A Drowning Man" (2017) explores the unseen aspects of the Refugee Crisis. In, 15 far-too-short minutes, viewers are given a detailed snapshot of what it's like for a refugee to drown in the waters of poverty and otherness while trying to navigate a land whose promise has worn off, and only 'strange' remains.
Nick Rowland’s She Rides Shotgun is a blistering, blood-soaked road thriller that doubles as a bruised love story between a haunted ex-con (a career-best Taron Egerton) and the daughter he barely knows (astonishing newcomer Ana Sophia Heger). Fueled by white-knuckle chases, razor-tense shootouts, and quiet moments of aching tenderness, the film captures both the terror and fragile beauty of survival. It’s gritty, heartbreaking, and unforgettable—a father-daughter odyssey destined to leave audiences shaken.