Minorca Coutto

Minorca Coutto

Favorite films

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  • Tumbbad

    ★★★★

  • Darkest Miriam

    ★★★½

  • Stopmotion

    ★★★½

  • I'm Thinking of Ending Things

    ★★★★

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  • Tumbbad

    Tumbbad

    ★★★★

    I rewatched this because a coworker reminded me of it, and honestly? I need to thank Max because now I can't stop thinking about Hastar again.

    This isn’t just a horror movie—it’s a cursed fable told by candlelight, dripping with greed, guilt, and gorgeously nightmarish visuals. Imagine if Guillermo del Toro, H.P. Lovecraft, and ancient Indian folklore had a deeply unsettling love child—that’s Tumbbad.

    The atmosphere? Drenched in rain and rot. The cinematography? So stunning it makes filth and decay…

  • Darkest Miriam

    Darkest Miriam

    ★★★½

    This is what happens when stop-motion horror gets possessed by a demon and refuses to let go. Every single frame feels handcrafted to make you uncomfortable like you’re watching something that shouldn’t exist. The uncanny, grotesque visuals burrow straight into your subconscious, and Miriam herself? Oh, she’s unhinged—as if loneliness, grief, and rage built a flesh puppet and set it loose.

    The way this film blends psychological horror with pure tactile dread is nasty in the best way possible. It’s…

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  • Stopmotion

    Stopmotion

    ★★★½

    Imagine Coraline and Black Swan had an unsettling little lovechild who grew up playing with haunted dolls—this movie would be it. The stop-motion is so deeply cursed that I wouldn’t be surprised if my screen started whispering to me at 3 AM. It’s a slow, crawling descent into artistic madness, and by the end, you kinda feel like you’re losing your grip on reality too. Terrifying in a way that feels intimate—like the horror is reaching out just for you. I respect it, but also, I want it gone from my brain.

  • I'm Thinking of Ending Things

    I'm Thinking of Ending Things

    ★★★★

    I watched this when it first came out, and I just rewatched it, thinking maybe, maybe this time, I’d finally crack the code. Nope. Still felt like my brain was being slowly microwaved. But somehow, it hit even harder the second time—like an existential crisis with the director’s commentary.

    Charlie Kaufman manufactured psychological distress. Jessie Buckley and Jesse Plemons deliver performances so quietly devastating that they make time feel fake. The dialogue feels like it was designed to trap you…

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