The Women and the Murderer: Made by Women for Women
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.

Jan is in the last year of his apprenticeship. He wants to be taken on and he wants to do everything right. But what is the right thing to do when restructuring increases the pressure on Jan and his colleagues, when redundancies are the order of the day and the HR manager, who is himself under control and pressure to succeed, keeps a watchful eye on everything? When Jenny, a temporary worker of the same age, joins his company, a tender love story begins. But does love have a chance under these conditions and will Jan manage to rebel against the system?
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.
Netflix’s Shadow and Bone has a complicated relationship with race. It has a diverse cast, but not without its problems. Based on Leigh Bardugo’s two book series, the show features characters from the Shadow and Bone trilogy, which is very straight and white, and the Six of Crows duology, which is much more diverse. When bringing together a cast and writing about these characters, the team behind the show expanded upon some of the representation missing from the first trilogy, then seemed to take away representation from the duology. Shadow and Bone seems to play a bit of a push and pull game when it comes to portraying diversity onscreen.
“Candyman ain't a 'he.’ Candyman is the whole damn hive." Candyman represents all Black victims of white supremacy, and this art form narratively conveys it in a succinct, adulatory way, the history of which is rare to find.
With the theme of unemployment, it presents a family fantasy anecdote rather the a comment on social problems.
Four more classic horror films that are entertaining even if occasionally absurd.