Hitchcock's Subtextual Coding in 'Rope'
Hitchcock is no stranger to innuendo, as was common in that era, but there was something so sophisticated about his approach to 'Rope', and it starts in the first frame.

Marie, 22, works in her parent’s hotel-restaurant, a place of hard-work where three generations mix but barely speak to each other. Suzanne, 42, shows up for the night. She ends up staying two nights, then three and finally settles for a moment. To Marie, she’s a simple customer. Yet Suzanne did not choose this hotel by accident.
Hitchcock is no stranger to innuendo, as was common in that era, but there was something so sophisticated about his approach to 'Rope', and it starts in the first frame.
The differences in these films could not be more blatant, and yet Gus Van Sant has found a way to portray the same messages and use the same techniques in each.
This little Netflix film was very inspirational. It passes the Bechdel test, and features a different worldview with rural Indian representation.
James Cameron’s The Terminator (1984) marks the beginning of a wonderful two-part arc, brimming with style and substance. The film follows Sarah Connor, a waitress living in Los Angeles. One night, a cybernetic organism (Arnold Schwarzenegger) is sent back in time to kill Sarah. A human resistance fighter (Michael Biehn) is also sent back in time, with the intent of saving Sarah from this deadly foe.
The more we learned with each passing minute the bigger the reveal. This film ends with a serious bang and it was truly a joy to watch.
With a quirky outline, Project Hail Mary stays within the bounds of human language and imperial fantasy.