Who is Stephen Maker? Did he fake his own death, or do doppelgangers really exist? A mysterious call, a photograph of a man and a private detective compelled by the one case that has finally got to him. One stark but brilliant day in London, Austin Peterson takes a job from an anonymous client, a demand he knows he should refuse. He uses the feelings of the woman who loves him to get information. But this only raises more questions than it answers, leading Petersen deeper into the maze.
On the Road captures the bleak, hyper-masculine world of long-haul trucking in Northern Mexico, where anything can and will happen. A hard-boiled, neon-noir romantic thriller, it shows the gritty reality of roadside diners, truck stops, and truck cemeteries alongside the expansive, breathless beauty of the Mexican desert highways.
An attempt to capture nostalgia that unfortunately just doesn’t work
Set in a future dystopian United States in which water is running out, Julia Hart’s Fast Color (2018) is a refreshingly different take on the superhero film.
The French-born director Laure de Clermont-Tonnerre’s strategic choice to entrust the interpretation of a conventional, feminine character to a non-binary actor pays off: Corrin’s Lady Chatterley is awkward, edgy, and uninhibited at the same time.
Nick Rowland’s She Rides Shotgun is a blistering, blood-soaked road thriller that doubles as a bruised love story between a haunted ex-con (a career-best Taron Egerton) and the daughter he barely knows (astonishing newcomer Ana Sophia Heger). Fueled by white-knuckle chases, razor-tense shootouts, and quiet moments of aching tenderness, the film captures both the terror and fragile beauty of survival. It’s gritty, heartbreaking, and unforgettable—a father-daughter odyssey destined to leave audiences shaken.
The 92nd Academy Awards had many strong contenders for best animated short. But which Oscar nominated short wins for diversity and inclusion?
