A Complete Unknown doesn’t feel like a Bob Dylan biopic so much as a shallow recognition of the idea of him. Timothée Chalamet is fine in the role, but the film doesn’t give him much to work with. He delivers a solid Dylan impression, but the script never lets us in on his mind, his music, or what truly drove his iconic transformation to electric. Why dive into the life of an artist who has always kept his personal story…

Grief is interesting because one minute, you’re present, and the next, you’re a child again, standing in a memory that lives deep inside of you. A real pain seems to linger somewhere in that space, like where humor and heartbreak coexist in the same breath. Grief makes you insufferable. Grief makes you tender. It makes you hold on too tightly or let go too soon. This film gets that. Funny in the way pain is funny when you step outside…

The ending really tied it all together. At first glance, Anora seemed like a film about survival and ambition, but underneath, I think it’s really about agency, self-worth, and the illusion of control and the fragility of these things. While watching, I kept thinking about how Annie exists in this in-between space of love and transaction, power and vulnerability, the life she has and the life she imagines for herself. That tension and constant push and pull, is what makes…

The film was like a mirror, reflecting our darkest instincts, the insidious ways obsession envelops us until we’re lost to it, no longer in control. Orlok and Ellen felt less like predator and prey and more like a messy tangle of longing, the things we crave but can’t have, how desire turns into destruction before we even notice. The isolation and the way Orlok’s presence isn’t really just a threat, but a truth of how loneliness can distort us, twist…