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What happens when a television series grows so large that it begins to rewrite public memory, and not just entertain? PEAKY BLINDERS: THE REAL STORY focuses in part on offering an answer to that question, positioning itself less as an extension of a global franchise and more as a corrective lens, one that slows the momentum of cultural obsession long enough to ask what’s been gained, lost, and distorted along the way.

When power, not affection, is the first thing to shape it, what does love look like? DREAMS starts like a romance, but doesn’t want to ease anyone in. Right from the beginning, between Jennifer McCarthy (Jessica Chastain) and Fernando Rodríguez (Isaac Hernández), there’s a lack of balance, not in obvious spitefulness, but in quiet domination. Writer/director Michel Franco isn’t making a big, cross-cultural love story; he’s making a deal which, little by little, shows what it’s about.

Is healing still possible once vulnerability becomes mandatory? BARE SKIN begins with the idea of safety, but never lets the viewer forget just how unstable that idea is. The movie quickly creates a space that conveys concern and healing, only to subtly poison it. The thing that makes it so disturbing isn’t the amount of blood or scares, but the gradual understanding that showing what you feel can be as risky as being in physical danger, and when people in charge aren’t held back from doing whatever they want.

What does it mean for a legend to be built slowly, through repetition, restraint, and time rather than immediacy or excess? Tomu Uchida’s five-film adaptation of Eiji Yoshikawa’s novelized account of Miyamoto Musashi doesn’t aim to overwhelm, and it doesn’t chase grandeur through constant escalation. Instead, the ZEN & SWORD cycle commits to patience, allowing its central figure to evolve incrementally across years, not hours. That choice defines both the strength and the limitation of the saga, especially when experienced as a complete body of work rather than as individual entries spaced apart by theatrical release windows.

At what point does sheer artistic obsession stop being a movie and start becoming an accidental self-portrait? SCARLET WARNING 666 isn’t merely a ‘lost film,’ a cult oddity, or a so-called “bad movie.” It’s a document of obsession preserved frame by agonizing frame. Watching it now, newly restored and finally contextualized, feels less like encountering a forgotten horror film and more like stumbling into a private fixation that was never meant to be archived, let alone reexamined.

How much comfort is a lie worth when the truth offers no path forward? JAKOB THE LIAR occupies an unusual place in Holocaust movies. It doesn't center spectacle, brutality, or history. It focuses on the emotional need for hope, even if the hope is known to be insincere. The film recognizes that survival isn't simply physical, but also emotional, and that desperation can be as deadly as violence.

What does growing up look like when no one teaches you the difference between wanting closeness and using your body to survive loneliness? SOMERSAULT begins mysteriously and never attempts to explain itself. Cate Shortland's directorial debut is not concerned with helping the viewer find their way or rounding out the edges of Heidi's actions. Rather, Shortland puts the viewer directly in the middle of Heidi's uncertainty. This decision is essential to the film's continued relevance twenty years later and to this 4K restoration's role as a necessary introduction rather than a nostalgic trip backto the day.

What do people actually mean when they say they believe in heaven, and why does the answer matter so much to them? HEAVEN doesn’t promote or disprove belief; nor does it advocate for curiosity as a virtue. It merely provides a space and then backs away. This is what makes Diane Keaton's directorial debut feel so revolutionary, even to this day. HEAVEN has been around since 1987 and was recently restored. The film plays less like a product of its time and more like one that arrived ahead of its time, waiting for its audience to catch up.

What does it mean to survive when you don’t actually want to be alive? That question sits at the center of THIS IS NOT A TEST, and Adam MacDonald never lets it drift into metaphor or genre shorthand. Instead, he locks it inside a high school, seals the exits, and forces the audience to sit with a protagonist who experiences the apocalypse less as a threat than an inconvenience to her desire to disappear.

What happens when a filmmaker decides accuracy matters less than immersion? THE DOORS answers that question with a clear vision, not with restraint, but with a full-bodied plunge into sensation, ego, and excess. Oliver Stone’s vision of Jim Morrison isn’t designed to explain the man; it’s designed to make you feel what it might have been like to exist inside his world, and that distinction is crucial to understanding why this film still provokes such divided reactions more than three decades later.

What does it mean to grow up when the people around you are quietly falling apart? Charlie McDowell’s THE SUMMER BOOK doesn’t open by posing a question that needs to be solved, but rather by assuming a question is always there, and that we live inside of it. Unlike many films, THE SUMMER BOOK doesn’t seek to create dramatic turns or emotional releases. Rather, it takes the idea that grief, love, and understanding, and with that the act of understanding, can unfold at the pace of observation (or even non-action) rather than through action.

What responsibility does a parent have once their children are grown, and what happens when love no longer grants authority? A LITTLE PRAYER begins with that unasked question hanging above each conversation, yet never asked directly, however it's sensed in the silence between lines, in the hesitation of characters before speaking, and in the measured distance maintained by the film from making judgments.

What does it mean when a piece of pop culture not only ages well, but explains the present better than the moment that produced it? BEAM ME UP, SULU is introduced as a story based on a "lost" 1985 Star Trek fan film made in a California forest by students who never got to show their work. But as the film progresses, we realize that the project was much bigger, a discovery of how representation, good intentions, and community were important then and remain important today.

What does it take to keep creating when the industry keeps asking you to disappear? THE ROSE: COME BACK TO ME presents that question hovering beneath every image and interview, even when it’s never stated outright. Rather than framing itself as a victory lap or fan-service celebration, the film commits to something more honest: an exploration of endurance, identity, and the emotional cost of choosing authenticity in a system built to reward conformity.

What happens when survival stops being heroic and starts feeling imperative? HUNTING JESSICA BROK offers the audience a familiar silhouette of a genre archetype — the retired operative, the quiet life, the past that won’t stay buried — but it quickly makes clear that this isn’t a story interested in comfort. Alastair Orr’s film wants exhaustion, consequence, and moral abrasion, even when those ambitions strain against the limits of its own structure.

What does it look like when democracy doesn’t fall with an unforgettable impact, but instead erodes quietly and in full public view? AN AMERICAN PASTORAL asks that question not through narration or argument, but by standing still and letting the answer reveal itself over time. Set in Elizabethtown, Pennsylvania, the documentary observes a local school board race that gradually exposes how cultural grievance, religious extremism, and procedural manipulation can reshape public institutions long before most people realize what’s happening.

What if the scariest part of the job is how normal it feels? That issue quietly anchors THE MORTUARY ASSISTANT, a horror film that understands fear doesn’t always arrive with extravaganza. Instead, it creeps in through repetition, silence, and the slow erosion of certainty. Adapting a video game known for its oppressive atmosphere rather than jump-driven shocks, director Jeremiah Kipp delivers a film that largely resists the urge to overexplain itself, trusting mood, environment, and performance to do the work.

Who decides which victories are remembered and which are quietly buried? THE OTHER ROE builds its entire purpose around that question, then answers it with precision, restraint, and clarity. In just sixteen minutes, the film accomplishes what many feature-length documentaries struggle to do: it reframes a foundational moment in American history without grandstanding, and it restores credit where it has been systematically withheld.

At what point does lore stop enriching a movie and start replacing it? That question defines FIVE NIGHTS AT FREDDY’S 2, a follow-up that clearly understands its audience but struggles to justify itself to those who aren’t diehards. Where the first entry attempted to introduce a broader crowd to Scott Cawthon’s dense mythology, this sequel largely abandons that bridge-building in favor of immersion, recognition, and expansion. For fans, that approach has obvious appeal. For everyone else, it creates a movie that often feels like it’s speaking a language it never bothers to teach.

What are you willing to give up to finally be heard? MIMICS frames that question with a grin rather than a snarl, delivering a genre hybrid that understands its own absurdity without ever treating its characters as punchlines. This film recognizes how desperation and ambition often wear the same face, especially in creative fields where validation feels perpetually just out of reach.

What happens when the person who knows you best is also the one you’ve actively been avoiding? MAGID / ZAFAR chases this question with relentless intensity, turning it into a pressure cooker for identity, masculinity, and emotional avoidance. In just eighteen minutes, director Luís Hindman delivers one of the most viscerally direct British shorts in recent years, a film that doesn’t just depict tension but manufactures it moment by moment until escape feels impossible.

What happens when something you made to escape becomes something others used to survive, or worse, to justify harm? That question hangs over NOSTALGIE from its opening, shaping the film not as a tale of faded fame but as a quiet, devastating examination of authorship, complicity, and the myths artists tell themselves to stay afloat. At just nineteen minutes, Kathryn Ferguson’s BAFTA-nominated short manages to feel both intimate and expansive, never rushing its ideas yet never overcomplicating its message.

What do you do when the world feels on edge, and every new technological promise sounds like a threat dressed up as convenience? GOOD LUCK, HAVE FUN, DON’T DIE doesn’t offer comfort, clarity, or solutions. Instead, Gore Verbinski returns to filmmaking by throwing gasoline on that anxiety and daring the audience to keep up. This is a loud, restless, deliberately overstuffed movie that treats chaos as both subject and method, and it never pretends otherwise. Everything you think you know about this film is wrong, and ultimately, in the best way possible.

What happens when the desire to be loved curdles into the desire to disappear? BY DESIGN doesn’t ask that question softly, and it certainly doesn’t bother cushioning the answer. Amanda Kramer’s feature takes an absurdist premise that sounds like a punchline and commits to it with absolute seriousness, using surrealism not as a stylistic lens, but as a blunt instrument for interrogating female interiority, objectification, and the fantasy of frictionless existence.