“Since when did they start hiring people like her?”

Despite its whimsical, lighthearted score and the seemingly joyful backdrop of the holidays, Night Ride is hardly joyous and more akin to an anti-bullying commercial than a narrative film. Despite director Eirik Tveiten’s good intentions, Night Ride employs the same transphobic discrimination it warns against. The characters are ultimately caricatures. Everybody’s a bystander. The protagonist, Ebba, is frustratingly ive. It ends with the victims fleeing the scene, back out into the…

“We are the spear of victory, we are the blade of freedom, we are Dahomey!”

Phew! I forgot just how great of an experience I had watching The Woman King for the first time. I put it on for my family, not expecting to rewatch it, but I got immediately sucked in.

This movie deserves much more love than it received — it’s underrated and insufficiently recognized. I walking out of the theater and thinking the movie was sure…

“Five hundred twenty-five thousand six hundred minutes.”

How Do You Measure a Year? is sweet. It serves as a reminder of the brevity of life and the importance of capturing as many memories as possible because each photograph or each video offers an escape into the past, a dive into previous versions of ourselves and those we love.

I appreciate this short's wholesome sentimentality, but I agree with others who say it’s hardly a story. It does feel like an…

Blonde isn’t easy to watch. It grotesquely perverts the life of a public icon under the guise of delving into her psyche — and yet accomplishes it by repeatedly violating her. I went into the film firmly expecting fantasy, and even with expectations, Blonde really is a string of inconceivable hardships. It portrays tragedy after tragedy, most of them exaggerated or fabricated. By including and retroactively exploring false examples of trauma, Blonde reveals the difficulty with displaying such scenes: audiences…