Unspeakable events occurred in the town of Manta. Several young women had to flee from there and were despised forever. They were condemned without anyone asking why they did it. Thirty years later, Magda decides to return to rediscover her past, now that she is facing a judicial process that can restore the dignity and honor that her people have denied her. She feels watched, judged in this frozen place in time, until her friends come to accompany her and a little light appears again.
On the Road captures the bleak, hyper-masculine world of long-haul trucking in Northern Mexico, where anything can and will happen. A hard-boiled, neon-noir romantic thriller, it shows the gritty reality of roadside diners, truck stops, and truck cemeteries alongside the expansive, breathless beauty of the Mexican desert highways.
Who knew a drunken game of truth or dare could launch one of the most chaotic rom-coms of the year? The Threesome takes Connor’s fantasy night with Olivia (Zoey Deutch, in peak queen-of-indie form) and Jenny (Ruby Cruz) and flips it into a deliciously messy nightmare when both women end up pregnant. What follows isn’t cheap comedy—it’s a whip-smart, heartfelt exploration of love, consequence, and the beautiful disasters we call adulthood.
With such a raw look at the 15th century, it seems that Disney was really trying to step outside of its element with this motion picture.
Netflix takes some liberties in its portrayal of Madame CJ Walker, a trailblazing Black entrepreneur.
A Girl Walks Home Alone At Night, though its feminism may be unintentional, cannot exist without its focus on women reclaiming power. The movie is feminist by definition, even if Amirpour didn’t write it with that in mind. A Girl Walks Home Alone At Night is mesmerizing, poetic, and stunning, both for its portrayal of feminist ideas and its powerful story that is both horrific and subtly romantic at once.
