Writing Great Villains: Why They Shouldn't Be Sympathetic
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.

You don't play with crocodiles. Two people on a stroll at the end of an night, at the end of the Berlin myth of Prenzlauer Berg: they are sexy, they are young, they are forlorn. It could be a wild summer. There will be two happy days in Berlin. The movie tells the tale of a place, the tale of a love, the tale of longing for a new beginning. More than an extraordinary independent movie, a universal big-city novel which could, without that affectionate local color, take place in every metropolis. Exodus or exitus: 'Tenerife EXIT' plays between and with them both.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
“It's not ghosts. It's not supernatural. It's... It's America. And it's everywhere.”
"Driveways" is a nuanced portrait of an Asian American family, touching on themes of loss, growth, and belonging.
'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.
I'm bad, and that's good. I will never be good, and that's not bad. There's no one I'd rather be than me.
What makes a person different, and who is considered normal? Based on a true story, The Unbreakable Boy follows the life of Austin LeRette, a young boy with autism and osteogenesis imperfecta, as he navigates daily life with optimism and resilience.