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Sentient
(2026)
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Robert Daniels
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Jones’ inability to find a stable middle ground blanches the purity of his intentions, reducing his film’s potent message into an overwrought screed.
Posted Feb 02, 2026
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Kikuyu Land
(2026)
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Robert Daniels
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One hopes that this stimulating and well-researched documentary allows the Kikuyus to be heard.
Posted Feb 02, 2026
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Levitating
(2026)
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Robert Daniels
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While the film’s ambition... can get the better of it, when its myriad of transcendental scenes do occur, they hit with incredible might.
Posted Feb 02, 2026
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The Huntress
(2026)
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Peyton Robinson
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Correa crafts a film that doesn’t shy away from the weight of its subject, nor from the understandable, though perhaps unfulfilling claim of its conclusion.
Posted Feb 02, 2026
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Filipiñana
(2026)
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Peyton Robinson
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The film’s pace is painstaking, detracting from its attempt to survey the chasm between work and play.
Posted Feb 02, 2026
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Extra Geography
(2026)
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Peyton Robinson
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Absurdly funny yet unafraid to tap into the grief in intense female friendships, Manners’ film is not just about growing up but also about bracing against cycles of validation and codependency that we all come to realize must be abandoned.
Posted Feb 02, 2026
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Troublemaker
(2026)
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Zachary Lee
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While it makes sense the film wouldn’t quite dive into this, the project is reverent, perhaps to a fault, not critiquing the ways Mandela wasn't always present for his children.
Posted Feb 02, 2026
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Jane Elliott Against the World
(2026)
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Zachary Lee
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But there’s a warm irony that despite the film’s title, she’s "against" the world; in reality, Elliott is very much for the world.
Posted Feb 02, 2026
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The Disciple
(2026)
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Zachary Lee
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This is the stuff of great fiction: the cost of flying too close to the sun, when money and ambition get in the way of brotherhood, and the power of faking it till you make it.
Posted Feb 02, 2026
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3.5/4
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undertone
(2025)
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Brian Tallerico
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Some will argue that all of the themes of "undertone" don’t connect, but that’s a feature, not a bug. This is a film that doesn’t feel the need to explain itself. Nightmares rarely do.
Posted Feb 02, 2026
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3/4
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The AI Doc: Or How I Became an Apocaloptimist
(2026)
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Brian Tallerico
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It seeks to raise awareness and spark conversation more than to draw conclusions.
Posted Feb 02, 2026
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Rock Springs
(2026)
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Brian Tallerico
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The two halves of this film never cohere into a satisfying whole as Vera Miao can’t figure out how to make us interested in this traumatized family that’s never developed into something that feels three-dimensional.
Posted Feb 02, 2026
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Saccharine
(2026)
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Brian Tallerico
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It has strong visuals and interesting ideas but too little idea how to tie them together before it explodes in a final act filled with mixed messages that could be read as downright fatphobic.
Posted Feb 02, 2026
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The Best Summer
(2026)
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Brian Tallerico
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It’s an effective reminder of when tours like this felt less corporate and more driven by artistic expression.
Posted Feb 02, 2026
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Barbara Forever
(2026)
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Monica Castillo
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It’s an unparalleled tribute to an artist using her own words and medium to tell her story.
Posted Feb 02, 2026
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American Pachuco: The Legend of Luis Valdez
(2026)
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Monica Castillo
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Alvarado’s documentary turns into a defiant reminder of our past struggles, a celebration of our successes and progress, and a call to remain proud of one’s roots.
Posted Feb 02, 2026
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American Doctor
(2026)
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Monica Castillo
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It is a formidable debut, an unflinching view of a story we’ve heard about but might not fully understand unless our social media feeds show us these testimonies.
Posted Feb 02, 2026
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All About the Money
(2026)
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Brian Tallerico
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I can imagine reading a longform article about Chambers to be of interest, spending this much time with him feels fruitless, leading to a film that doesn’t have enough to say beyond profiling someone who loves to be profiled.
Posted Feb 02, 2026
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Hanging by a Wire
(2026)
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Brian Tallerico
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Despite the sense that ‘Hanging by a Wire’ s a bit too clean … the end result is undeniably moving, especially when the survivors and their fathers talk about that unforgettable da
Posted Feb 02, 2026
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Closure
(2026)
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Brian Tallerico
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A moving story of how grief and love can harden into determination.
Posted Feb 02, 2026
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The Last First: Winter K2
(2026)
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Peyton Robinson
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Not only an adventure tale, it also surveys pride and tragedy and questions the role of accountability, constructing a film as damning as it is exhilarating.
Posted Feb 02, 2026
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Give Me the Ball!
(2026)
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Peyton Robinson
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With a dedicated vigor only fitting to match its subject, 'Give Me The Ball!’ surveys more history and impact than I can outline with any semblance of brevity, and does so with an ecstatic, enduring thrill.
Posted Feb 02, 2026
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The Oldest Person in the World
(2026)
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Peyton Robinson
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It desperately wishes for existential depth, but Green’s sentimentality and cloying, soft spoken narration are pleading and off-puttin
Posted Feb 02, 2026
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Everybody To Kenmure Street
(2026)
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Robert Daniels
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Felipe Bustos Sierra’s "Everybody to Kenmure Street" is a spirited and imperative portrait of collective action whose urgency painfully speaks to now.
Posted Feb 01, 2026
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Lady
(2026)
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Robert Daniels
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With a keen mixing of archival news footage, real political issues and an empathetic eye—Nwosu’s "Lady" is a vibrant and invigorating debut feature whose intelligent narrative calibrations make for a galvanizing picture of sisterhood.
Posted Feb 01, 2026
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Shame and Money
(2026)
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Robert Daniels
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There isn’t a single false beat in director German–Kosovan filmmaker Visar Morina’s anti-capitalist venture "Shame and Money."
Posted Feb 01, 2026
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See You When I See You
(2026)
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Brian Tallerico
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There are a few too many times when it feels like an element of Cayton-Holland’s book that probably had pages to develop—like the bird subplot or even the cancer one—just doesn’t have enough room to breathe on the big screen.
Posted Jan 31, 2026
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The Only Living Pickpocket in New York
(2026)
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Brian Tallerico
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The unimpeachable cast holds it aloft every time it threatens to sink into the mud of cliché.
Posted Jan 31, 2026
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The Weight
(2026)
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Brian Tallerico
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There are some camera choices that could hamper complete enjoyment by all—including a late-movie fight that’s shot far too close—but the last ten minutes of "The Weight" are as satisfying as anything you’re likely to see this year.
Posted Jan 31, 2026
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TheyDream
(2026)
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Zachary Lee
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It dares us to try to remember and render our stories with such ferocious love.
Posted Jan 31, 2026
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Ghost in the Machine
(2026)
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Zachary Lee
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It’s a reminder for humanity to put the machine in its rightful place, before it tries to put us in ours.
Posted Jan 31, 2026
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3/4
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Islands
(2025)
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Carlos Aguilar
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The character construction and how their respective desires intersect with one another, in tandem with an effectively dizzying atmosphere, render it more original than expected.
Posted Jan 30, 2026
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1/4
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Shelter
(2026)
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Simon Abrams
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Nothing in 'Shelter' develops beyond the suggestion of an idea.
Posted Jan 30, 2026
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2/4
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Back to the Past
(2025)
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Simon Abrams
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‘Back to the Past' doesn’t really stand on its own, and its creators don’t know how to offer viewers anything new.
Posted Jan 30, 2026
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3.5/4
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The Love That Remains
(2025)
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Clint Worthington
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It plays out with remarkable intuition and sensitivity about its troubled characters, ones who try to love and reckon with hard feelings when those endeavors don’t work out, and you have to sift through the rubble to find meaning
Posted Jan 30, 2026
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3.5/4
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Natchez
(2025)
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Nell Minow
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It is about the personal, cultural, and commercial pressures in a small Mississippi town whose economy depends on a sanitized version of the era of wealthy plantation owners who used enslaved people to pick cotton.
Posted Jan 30, 2026
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1.5/4
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Moses the Black
(2026)
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Craig D. Lindsey
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May it languish in that never-ending, DIY Black movie pit known as Tubi.
Posted Jan 30, 2026
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3/4
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Pike River
(2025)
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Cortlyn Kelly
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The magnetic chemistry between Lynskey and Malcom, complemented by the lived-in, authentic costuming and production design bolster the movie overall.
Posted Jan 30, 2026
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3.5/4
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Send Help
(2026)
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Richard Roeper
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McAdams gives what just might be the best performance of her career in Sam Raimi’s fantastically gory, darkly funny, and twist-filled film.
Posted Jan 30, 2026
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3.5/4
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A Poet
(2025)
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Robert Daniels
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It’s very easy to dismiss a film about a hapless loser. But it’s nearly as difficult to ignore a performance like the one Rios gives.
Posted Jan 30, 2026
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Run Amok
(2026)
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Robert Daniels
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The execution is so lacking due to its half-formed ideas and its grating tone, that it all just crumbles before it comes remotely close to the finish line.
Posted Jan 30, 2026
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The Friend's House Is Here
(2026)
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Robert Daniels
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This is a powerful film about the importance of performance that perceptively knows what it wants to be and approaches its artistic goals with confidence and defiance.
Posted Jan 30, 2026
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Frank & Louis
(2026)
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Robert Daniels
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Petra Biondina Volpe’s caretaker drama "Frank & Louis" is a distressing, albeit distant picture that survives on its two lead actors.
Posted Jan 30, 2026
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Chasing Summer
(2026)
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Robert Daniels
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While the wild and fun "Chasing Summer" isn’t necessarily Decker at her best. It’s certainly her at her most content.
Posted Jan 30, 2026
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Antiheroine
(2026)
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Robert Daniels
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It’s great hearing and learning from today’s Love—a candid personality re-entering an over tightened world lacking in spontaneity and honesty.
Posted Jan 30, 2026
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Time and Water
(2026)
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Robert Daniels
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A stirring record of human hopes and regrets.
Posted Jan 30, 2026
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When a Witness Recants
(2026)
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Robert Daniels
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"When a Witness Recants," a harrowing investigative piece from HBO Documentary Films, moves with the sure-footedness of the truth stepping out into the light.
Posted Jan 30, 2026
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Jaripeo
(2026)
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Robert Daniels
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Dreamlike and frank, Efraín Mojica and Rebecca Zweig’s "Jaripeo" is a clear-eyed survey of the queer culture that exists within Michoacán’s hypermasculine rodeos.
Posted Jan 30, 2026
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Night Nurse
(2026)
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Robert Daniels
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At times, "Night Nurse" recalls both Steven Shainberg’s "Secretary" and Cronenberg’s "Crash."
Posted Jan 30, 2026
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Big Girls Don't Cry
(2026)
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Marya E. Gates
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But what really makes this film special is the way Schneideman subtly indicates how painful it was in that era to grow up queer without any real support system, even if you never experienced any actual violence.
Posted Jan 29, 2026
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