It's a wedding, it's performative by nature.

Like his absurdist filmography, Kristoffer Borgli's The Drama is another bittersweet sickening story, daring to awe-struck audiences with ethical dilemma and common conscience, about romantically acceptance soulmate's past and comprehensible profound process of human complexities.

Anxiously fun with morally qualms, sometimes disturbingly laughable, and sometimes emotionally compelling, Borgli manages to tell a story, about uncertainty reassurance of recognition your loved one's flawed and darkly secret, while also poked fun at so-called performative act of morality commitment.

Don't worry, Grandma.
It's fun to be dead.

Lee Cronin's The Mummy doesn't afraid to let all hell loose in the revisionism forms of hieroglyphics curse, that deeply affected one family after missing their daughter, and dubiously returns with unfamiliar presence.

Although, it's seemingly a refreshing return to its horror roots, but surprisingly a retooled Evil Dead formula camouflaged in sarcophagus, grounded in dramatic emotional heft but heavily distracted with wholly designated gross-out horror-esque, that audience never reaches its compelling conclusion.

But at least, it'll make audience' vocal cords squirmed, in one-of-those unexpectedly anxiety nail biting scenes.

Sure, all the lazy-ass cis men could take the grand reward away even the great women did all their hard work by themselves.

Smugglers successfully did a pretty decent job, to meshed up a serious topic as smuggled goods and comical comedy tone into slicks narrative, to strongly portray of determined haenyeo, the definition of badassery of female divers, earnestly exposed the corrupted system and poverty struggles.

Its 3rd act went so hard, with an utmost gripping sense, I mean, how can you divert yourself from that hotel fight sequence and underwater fight scene? You didn't have that every day, you know.