EO, More Than Just a Lost Donkey
The human experience is described through the eyes of a marginalized outsider, neither judgmental nor invested, just an observant donkey.

Struggling to make ends meet, the talented but still unrecognised artist, Miltos, knows firsthand what's it like to try to live off art alone. Already behind in the rent, Miltos is utterly unaware that he has just inherited a fortune from his long-lost uncle; a piece of vital information only the secretary in the notary's office, and her statuesque friend, Popi, know. Under those circumstances, Popi hatches an ambitious plan, intent on getting her hands on Miltos' money; however, the impecunious painter is head-over-heels in love with Litsa, the beautiful daughter of the neighbourhood's taverner. Will Miltos give in to Popi's intoxicating beauty? But, what is more precious, love or money?
The human experience is described through the eyes of a marginalized outsider, neither judgmental nor invested, just an observant donkey.
The Last Duel is about rape. Although the film delves into rape culture in medieval Europe, there are many striking similarities to modern rape culture.
Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.
The plot lags, the moral lessons are misguided, but are those fluffy little donut creatures adorable? Yes. Yes, they are.
The idea of Rosemary's baby but with lesbian partners drew me in, and I was anticipating what the film had in store with its reimagining. Unfortunately, it all felt a little too vague to leave an impact.
Dracula evolved from a person to a monster and then from a monster to a person.