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Good One
(2024)
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Olivia Popp
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Good One is a deadly microcosm: we no longer begin to wonder why men everywhere might act the way they do. Instead, we must sit with the dark reality that we, as a society, simply haven’t broken the cycle.
Posted Nov 18, 2025
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Emilia Pérez
(2024)
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Olivia Popp
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By its end, Emilia Pérez falls prey to traps around dangerous narratives of how the lives of trans women are meant to proceed.
Posted Nov 18, 2025
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My Old Ass
(2024)
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Olivia Popp
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At best, My Old Ass engages in a superficial and frequently regurgitated conversation about how labels can or don’t have to be used on an individual basis.
Posted Nov 18, 2025
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We Were Dangerous
(2024)
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Olivia Popp
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We Were Dangerous is still a joyous ride, even if one ends up a bit unsure of its approach by the end.
Posted Nov 18, 2025
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Trans Memoria
(2024)
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Olivia Popp
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Trans Memoria reaffirms that the situation is exceedingly more complex: for many trans individuals, medical transition is "do or die"—and even if you do, the other outcome isn’t guaranteed to disappear.
Posted Nov 18, 2025
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Plainclothes
(2025)
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Olivia Popp
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Plainclothes emerges as an impressive feature debut precisely because of how it incorporates style and content; one without the other would render the film a much more average drama.
Posted Nov 18, 2025
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Where the Wind Comes From
(2025)
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Olivia Popp
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Despite some predictable narrative points and cliché statements spoken out loud about future generations, the filmmaker gets away with it in light of the film’s very sincere energy, reflecting the hopes and dreams of many in Tunisia today.
Posted Nov 18, 2025
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Twinless
(2025)
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Olivia Popp
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Twinless doesn’t have the most satisfying of wrap-ups, but the filmmaker develops his web of relationships enough to keep the audience thinking about what could happen next by the time the last moments roll around.
Posted Nov 18, 2025
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Rains Over Babel
(2025)
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Olivia Popp
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If you thought the second half of Anora was exhilarating, have a load of Rains Over Babel, which will sweep you up, as long as you’re ready for the ride.
Posted Nov 18, 2025
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Queerpanorama
(2025)
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Olivia Popp
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With Queerpanorama, the filmmaker lightly steps into the boundary region of translation, raising questions about how we use our bodies and words to translate across spaces of the unknown.
Posted Nov 18, 2025
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Night Stage
(2025)
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Olivia Popp
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Night Stage is an odd film such that it has all the spicy, delicious component pieces for a sexy, nail-biting work, but outside of its pleasant visual approach, it disappoints in many other aspects.
Posted Nov 18, 2025
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I Really Love My Husband
(2025)
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Olivia Popp
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For a debut, Hawkins is confident in her tone, tossing in catchy dialogue-based running gags such as Teresa’s repeated declaration that she’s fasting ... and Paz’s cool statement that they operate at the "speed of nature" (a hilariously empty statement).
Posted Nov 18, 2025
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Fucktoys
(2025)
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Olivia Popp
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The writer-director has shown that she’s ready to get down and dirty both onscreen and behind the camera, which is sure to guarantee an even more inspired sophomore feature.
Posted Nov 18, 2025
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Sally
(2025)
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Olivia Popp
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Most successfully, Sally doesn’t shy away from the intertwinement of Ride’s scientific life with her personal one, even if the former was so aggressively in the public eye, and the latter was the polar opposite.
Posted Nov 18, 2025
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Sad Jokes
(2024)
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Olivia Popp
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The more Sad Jokes sits with you, the more it grows in expressive meaning as one seeks to connect the thematic dots between the scenes, which are often quite unconnected while loosely still proceeding in a forward-moving narrative.
Posted Nov 18, 2025
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Outerlands
(2025)
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Olivia Popp
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Oxman’s ability to reframe a city many of us might know so well—and, by proxy, imbue it with the feeling of wondrous limbo—is a cinematic feat in and of itself.
Posted Nov 18, 2025
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Dreams in Nightmares
(2024)
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Olivia Popp
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The filmmaker continues the impulse that the road trip is a liberatory experience, either with a set conceptual end goal in mind or a way to escape extant conditions while not necessarily requiring a physical destination.
Posted Nov 18, 2025
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Cactus Pears
(2025)
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Olivia Popp
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Part of the film’s charm is the subtlety embedded in the story, where dominant performances of masculinity are nowhere to be seen and we are to draw more from the implicit connection as shown between Anand and Balya.
Posted Nov 18, 2025
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Queens of Drama
(2024)
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Olivia Popp
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Queens of Drama draws attention to the horrors of being perceived by those who never have your best interest at heart, the horrors of the public persona, and the horrors of fame and wealth.
Posted Nov 18, 2025
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Lesbian Space Princess
(2025)
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Olivia Popp
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While Lesbian Space Princess isn’t the visual or creative marvel that one might have hoped for, it’s clear that Varghese and Hough Hobbs have put their heart and soul into it, bringing crowds to a film driven by a sense of hopeful, excited energy.
Posted Nov 18, 2025
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