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Bring Her Back (2025)
As Bring Her Back draws a pair of stepsiblings into an abusive foster home, Danny and Michael Philippou unravel a conspiracy of ritual occultism and necromancy, probing the demonic depths a grieving mother will pursue to mend her broken heart.
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Late Spring (1949)
With Yasujirō Ozu’s contemplative editing and curated mise-en-scène guiding Late Spring’s lyrical rhythms forward, there is both profound joy and sadness to be found in its central father-daughter love, finding melancholy drama in her resistance to getting marriage and his quiet acceptance of being left behind.
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Caught Stealing (2025)
Loyalties flicker with slippery inconsistency in the grimy urban decay of Caught Stealing, as Darren Aronofsky drags one New York bartender into the city’s violent underbelly, and masks familiar genre tropes beneath a tone that is equal parts sardonic, kinetic, and unapologetically chaotic.
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A Hen in the Wind (1948)
Yasujirō Ozu offers nothing but sympathy for one helpless mother’s agonising moral compromise in A Hen in the Wind, imposing the harsh, destitute architecture of postwar Japan upon her shame, as well as her desperate attempt to seek marital reconciliation.
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Eddington (2025)
What initially begins as a portrait of masculine rivalry in Eddington gradually reveals a study in reactionary control, capturing a microcosm of America’s tumultuous political landscape in one rural town, and cynically submitting to Ari Aster’s combustible, existential chaos.
