U, Me Aur Ghar 

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.

Taika Waititi writes, directs and co-stars in 'Boy', set in 1984 New Zealand. The film does just what Waititi dreamed of — it gave a great coming-of-age story to Māori people without making a story of the Māori people as an exotic other.

The director's latest is a dreamlike exploration of a consciousness torn between two homelands, and the implications of history and memory suspended in limbo.

The film reminds us to remember the people who had the courage and dignity that had made the world better, even when the memory was absent.

Many have interpreted Maya Deren’s Meshes of the Afternoon as a dream sequence, but what if the repetitive scenes we are given are not dreams but, a time loop.

When it comes down to it, The English explores what happens when power is unchecked and how those who seem powerless, have more strength than most through their convictions for justice.