the badman 

'The Mad Woman and the Feminist': This Spanish entry for the MiamisFF directed by Sandra Gallego handles a difficult conversation in a smart, memorable way.

Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.

There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.

In ‘The Owl House’ protagonist Luz Noceda stumbles across a portal to another dimension where magic exists, called The Boiling Isles.

A film for the post-MeToo era that inverts the narrative with an ironic coda, Tár depicts the duality of a sensitive artist capable of great evil and vile manipulation.

Through its morbidly humorous storytelling, Wednesday tells a tale of a world divided that explores the manifestation of generational trauma in its protagonist Wednesday Addams.