"Nightborn" and Why We Need More Feminist Horror
Coralie Fargeat once said that “Being a woman is body horror,” and when you think about the ways we are taught to experience our own bodies, it becomes almost impossible to argue with her.

Arthur Goldman is a rich Jewish industrialist, living in luxury in a Manhattan high-rise. He banters with his assistant Charlie, often shocking him with his outrageousness and irreverent musings on aspects of Jewish life. Nonetheless, Charlie is astonished one day when Israeli secret agents burst in and arrest Goldman for being a Nazi war criminal. Whisked to Israel for trial, Goldman forces his accusers to face, not only his presumed guilt, but their own.
Coralie Fargeat once said that “Being a woman is body horror,” and when you think about the ways we are taught to experience our own bodies, it becomes almost impossible to argue with her.
Ian and Barley embark on a quest to find a magical gem to restore their father back to life.
Netflix’s new comedy drama, Don’t Say Good Luck, is a heartwarming tearjerker as well as a love letter to the transformative power of being a theater kid. Directed by Julia Hart, Don’t Say Good Luck follows Sophie (Sunny Sandler), a theater kid who finally gets the lead role in her school’s production of Waitress - just as she finds out her mom Elizabeth (Melanie Lynskey) is dying of cancer. While the singing is by no means spectacular and Sandler’s acting is stiff, the film is grounded in the moving performance of Lynskey as a mother who wants nothing more than for her daughter to achieve her dreams, even if she can’t be there to see them.
Overall, 18 Presents feels more like a soap opera than a drama, and I feel bad for saying that since the concept is based off a tragic story (even though it’s loosely). I’m sure other people will find this film emotional for them, but as for me, it’s bland and forgettable.
How powerful can a story be when it is stripped to the bare essentials of just a room, a handful of people and raw human voice?