The Women and the Murderer: Made by Women for Women
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.

From the age of 13, Temujin's son will inherit his father's hearth. But his teammate Jamuha was the first to stop him on his way to become the king of Mongolia, and even King Tooril of Hareid, who became his father instead of his father, stood against him.
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.
This coming-of-age movie is about a group of girl trying to find their missing friend after a wild night none of them can remember.
Tired of being cooped up in their cages, the critters escape the Australian zoo and try to find their way to the outback.
Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.
Ripley is a great character because she serves two distinct, but rewarding, purposes in the original film and the sequel.