'Alice' Doesn't Live Here Anymore
'Alice' is a genre trifecta: one part revenge drama, one part historical account, one part throwback to Blaxploitation—kinda 'Django' meets 'Roots' meets 'Foxy Brown.'

Inspired by true events, Solos explores relationships among three individuals who are struggling to open up their feelings towards each other. Filmmakers Kan Lume and Loo Zihan co-directed this pathos that dramatizes the selfishness of love and its tragic outcomes. Set in contemporary Singapore, Solos follows the endeavors of Boy, Man and Mother. Having been in a relationship with Man (Lim Yu Beng) for years, Boy (Loo Zihan) eventually grows up and wishes to quit the relationship. Conversely, Man still wants to be with Boy and for them to settle together. Meanwhile, Mother (Goh Guat Kian) is devastated that her son (Boy) has abandoned her and has been in relationship with Man. As the three characters fight their own demons, Solos juxtaposes reality and surreal scenes in order to give clues of each character’s inner desires. The film has minimum conversation to give freedom to the audience's individual interpretation of the film.
'Alice' is a genre trifecta: one part revenge drama, one part historical account, one part throwback to Blaxploitation—kinda 'Django' meets 'Roots' meets 'Foxy Brown.'
The second film takes us on Peter's journey to be understood.
If a movie about a strange and crazy day is commercially successful, why not recycle it and double the kookiness quotient? That seems to be the logic behind this followup to Freaky Friday.
Adrian Chiarella’s Leviticus is a beautiful, poignant, enraging, gut-wrenching, and heartbreaking film about the trauma and harm conversion therapy inflicts on young queer people. Even though its classification as horror holds, the emotional bond between the two main characters, Naim and Ryan, elevates the story into a realistic romantic drama on par with Eternal Sunshine of the Spotless Mind.