In 'The Patient,' Patience Doesn't Really Pay Off
'The Patient' is bound by four walls and a mediocre ending that leaves you wanting more.

Nina Petrovna and Yegor Ilyich have been living in urban apartments with children, grandchildren, and even great-grandchildren, who, however, have no desire to reckon with the interests of their elderly relatives. But one day there comes a time when old people have to leave home. An accidental acquaintance in a bistro - and instead of despondently complaining about each other's fate, they leave to live at Yegor Ilyich’s dacha. The children of both, joining forces, are trying to put their "romantic" pensioners in their place ...
'The Patient' is bound by four walls and a mediocre ending that leaves you wanting more.
Ruben Östlund muses about his characters, “As soon as you get close to a person, you see them as just another human being”. It is widely recognized that aboard the luxury yacht in ‘Triangle of Sadness’, the different groups of people represent a small society as a commentary on classism and gender binaries.
Dead Poets Society brilliantly combines defeat and optimism, rejection and love, craziness and daring, fear and freedom.
When you think of the horror genre, the LGBTQ+ community is probably one of the last things you think of. However, horror is much more queer-coded than you may think.
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.
'Ganja & Hess' is a 1973 experimental horror film, written and directed by the visionary auteur Bill Gunn. It was meant to be a straightforward blaxploitation film – but director Gunn had grander ambitions.