The Drama: A Marriage of Discomfort and Empathy
This is not a film, it’s a drop tower. A drop tower that you don’t get off of for the vast majority of its 106-minute runtime.

Isabella lives for and because of her ailing father, Gabriel, but something has been tormenting her lately. As Isabella tries to stick to her routine, strange things begin to happen — yet she’s not ready to find out what it is.
This is not a film, it’s a drop tower. A drop tower that you don’t get off of for the vast majority of its 106-minute runtime.
While subverting the conventions of Golden Age cinema with the characteristics of a slasher, Pearl studies the delusions of grandeur inspired by the movies.
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.
With the start of the new season we're excited for all of the April new movie releases, some of which our writers here will cover in individual reviews throughout the month.
There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.