Looking Behind the 'Z-O-M-B-I-E-S' Trilogy
Our trilogy at Seabrook High School starts with a rivalry between zombies and humans who eventually come together.

Like two snakes chasing each other’s tails, time wriggles forward and backwards in Lev Kalman and Whitney Horn’s surrealist satire. In 2001, a pair of young investigators wander a mansion that is haunted by both its eastern relics and their western collector. Meanwhile, in the present day, they are watched by The Therapists, two Lululemon-clad researchers following metaphysical wellness rituals. A mysterious lo-fi kaleidoscope, with cameos by Condoleezza Rice, Shah Jahan, and Brendan Fraser.
Our trilogy at Seabrook High School starts with a rivalry between zombies and humans who eventually come together.
With the theme of unemployment, it presents a family fantasy anecdote rather the a comment on social problems.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
A decade since it aired, Shameless (U.S.) has always stuck to its guns (and baseball bats) about character diversity.
Mark Anthony Green was unable to connect all of the pieces in his debut feature film, leaving Opus as a middling entry in an already oversaturated genre.
The Delgado family becomes trapped in their house by an unknown force and it takes them years to realize what has happened.