Sola Aanay 

Hanna Bergholm's 'Hatching' shows us that the modern version of the cardboard world trope is social media.

I think that the happiness and survival of "Wynonna Earp"’s LGBTQ+ characters is incredibly refreshing in contrast to the prevalence of queer suffering and death in other television.

A short film that begins with the language of romance but slowly reveals something far more unsettling beneath the surface.

Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.

Netflix’s new comedy drama, Don’t Say Good Luck, is a heartwarming tearjerker as well as a love letter to the transformative power of being a theater kid. Directed by Julia Hart, Don’t Say Good Luck follows Sophie (Sunny Sandler), a theater kid who finally gets the lead role in her school’s production of Waitress - just as she finds out her mom Elizabeth (Melanie Lynskey) is dying of cancer. While the singing is by no means spectacular and Sandler’s acting is stiff, the film is grounded in the moving performance of Lynskey as a mother who wants nothing more than for her daughter to achieve her dreams, even if she can’t be there to see them.

This article will cover why this film is categorized as a documentary and concert film.