Tag Archives: Polish film

Creepy Fantasy Delight — “Cracow Monsters”

“Cracow Monsters” boasts that rare sense of pairing the macabre to the magical. As dreary, rainy, cold, and weirdly flaking as the Polish city of Cracow is in the series, it’s also a place where the colors are rich, the shadows inky deep, and the sense of mystery in the world still feels like a promise. It seems like a funny thing to say about a horror show when the genre’s become decidedly bleaker, but it’s that sense of a world that holds mysterious promise that makes this new Polish series such an involving watch.

Barbara Liberek plays Alex, a medical student who’s recruited by an inscrutable professor into a strange band of supernatural investigators. She’s their ninth, which holds a significance she doesn’t understand immediately. You could say they each have a very precise power, but in some cases ‘curse’ might be the more appropriate word. They research and autopsy creatures and demons out of Slavic folklore.

The list of horror projects “Cracow Monsters” evokes feels beautifully selected. The aesthetic richly calls back to “Jacob’s Ladder”, “The X-Files”, “Flatliners”, “Dark City”, “The Thing”, the “Silent Hill” series, and the Prague horror boom of the 2000s. That city was a favorite shooting location for Guillermo Del Toro, used in “Blade 2” and “Hellboy”, and Eli Roth, used in the “Hostel” series (meh). Like Prague, Cracow boasts an Old Town district with buildings, cobblestone streets, and fortifications that are hundreds of years old.

(A quick note: Cracow is the anglicization of Krakow, pronounced ‘krakuf’. The series translation uses “Cracow”, so I’m using the C-version to avoid confusion.)

It’s hard to envision that “Cracow Monsters” wasn’t informed at some level by Andrzej Sapkowski’s “The Witcher” novels (and of course the subsequent games and series). I’m sure there’s also a ton of foundation in other Polish fiction and folklore here that I don’t recognize.

“Cracow Monsters” takes its time delving into its horror aspects. It wants you to learn about Alex first. She’s a diagnosed schizophrenic who sees visions and self-medicates with drinking, drugs, and sex. She’s a student with good marks, but she’s also at the age where symptoms of schizophrenia like hallucinations become stronger. Of course, we’re clued in early that she may not be schizophrenic. What she sees as hallucinations may be visions.

The series’ action scenes don’t follow this slow-burn approach. They explode with sudden and undeniable strangeness. There’s a beautiful sense of motion to the cinematography throughout. Even quiet scenes feature the camera investigating multiple characters’ moods and faces so that we can draw our own inferences. It allows “Cracow Monsters” to subtly foreshadow details, and builds our curiosity for who everyone is.

Directors Kasia Adamik and Olga Chajdas also love to sneak in continuous takes that start on a precisely edited action. This fuses continuity to motion in ways that are superbly focused on character. When this sense of motion meets the staging of its action, “Cracow Monsters” sings. One desperate chase scene in a building made my jaw drop as I thought, this is what every zombie movie misses. The terror is the loping undead, sure, but even worse is figuring your way through the winding hallways of an unfamiliar building, hoping to avoid running yourself into a dead end. As Alex runs in a desperate circle of hallways in one continuous shot, it becomes apparent the only thing more frightening than being caught is screwing up and catching yourself.

One other choice I love in “Cracow Monsters” is its reliance on live special effects over CGI visual effects. There’s an abundance of heavily CGI monsters in horror right now. They come straight out of comic books, digital comics, manga, and other drawn sources, so they don’t always have to sync up with what looks real. As Karina Adelgaard points out on Heaven of Horror, it’s what allows a series like South Korea’s “Hellbound” to go over the top in its visuals. When series-budgeted CGI doesn’t have to look realistic, you can go for volume over fidelity.

That opens up a lot of new doors, but I don’t want the old ones closed. I tend to prefer live special effects, and “Cracow Monsters” does a lot with its creatures, makeup effects, and staging. The CGI it does use is rare and well utilized. If I have one complaint it’s that it can lack a little weight in its movement, but when used for a singular monster here or there, you’re not really comparing it to other things. The way it’s folded in is so creative, strange, and sudden that I’m already sold on what it wants to show me.

The acting here is solid, and aided by that sense of continuous motion in the filmmaking. A few scenes center on simultaneous conversations weaving in and out of each other. Alex’s group features eight others who are already used to living together, so this is natural. That can be difficult to track in a translation, but the filmmaking makes it easy to follow. It adds to Alex’s sense of being overwhelmed, and it provides a foundational layer of realism that a horror fantasy like this has to establish first.

On a cultural note, Alex is openly bi, and she’s seen kissing women as well as men. The cast of mostly young characters are perfectly comfortable with this, treat it as normal, and don’t assume anyone’s sexuality. An early shot shows Alex taking birth control. This is all meaningful to see given Poland’s governmental and religious situation, in which an increasingly theocratic Catholic government has established “LGBT-free zones” that occupy a third of the country. Their stated goal is banning public displays like marches and events. As if that’s not bad enough, the unstated yet understood goal is the enabling of harassment and violence against LGBTQ+ people. The Archbishop of Cracow himself has railed against what he calls a “plague” of LGBT ideology for years. This has served as just one example for recent hateful legislation pursued in the U.S. by evangelical state governments in Florida, Texas, and numerous other states. The series embracing LGBTQ+ representation and pro-choice stances is important both there and here.

“Cracow Monsters” isn’t perfect. I have a quibble or two. There’s a photosensitivity warning on the first episode because the opening scene absolutely needs it. That one scene is doused in an aggravating amount of flashing lights and while it’s well done, I do think artists in general need to think twice before using this visual approach. I don’t have photosensitivity triggers, and watching in a dark room, I had to consistently shield parts of the screen throughout the scene. I can’t remember doing that with anything else. You might need to watch the very first scene with the lights on, and if you do have photosensitivity triggers, be extremely cautious with it. After that first scene, the effect doesn’t return, and you can turn the lights off to enjoy the rest of the series.

A few scene transitions early on can feel unintentionally sudden, but once “Cracow Monsters” has set its different story branches into motion, it finds a good rhythm.

I do feel like some precision in the dialogue is lost in translation here or there. It’s nothing that’s distracting, but you may notice it once or twice. The series does an impressive job with its visual storytelling, especially when it doesn’t want you to immediately know what’s happening, so you never feel lost from the storyteller. I just wonder if some occasional connection in the dialogue or a more poetic turn of phrase may’ve been dropped here or there.

I don’t know that “Cracow Monsters” will appeal to everybody. It recalls 90s and early 00s psychological and supernatural horror, and those are genres that have a lot of misses and half-successes. The storytelling is defined through a sumptuously cinematic atmosphere, with tone becoming more important at times than the characters themselves. The editing shifts more traditionally between deep areas of focus that feature extravagant location shooting and set design, and close-up moments for the performance in dialogue scenes. This can feel stodgy or “of-an-era” in some projects, but the sheer quality of those locations and sets, the complexity of the staging, and the camera’s sense of movement elevates “Cracow Monsters” into finding that genuinely cinematic feel.

This all stands in stark contrast to more recent horror branches: art horror’s unnerving brightness and actor-centered focus; retrowave (or vaporwave) horror’s neon-and-shadow evocations of a style that never was; and pop horror’s preference for the bleak, washed out, and heavily foregrounded.

These are all different ways of presenting horror, and it’s awesome we have so many popular ways of conveying “why am I making myself watch this” right now. Some of these can miss that dark sense of promise, though – that horror can ultimately be an attempt at greater understanding, and that there’s beauty within this even if it scares us. This lends a vitality to the storytelling. It creates a connection to the storyteller and how the story’s being told that can even supersede the story itself. There’s a sense of sharing the excitement for a certain atmosphere and aesthetic rather than being told it or presented it.

For example: in a bleak horror backgrounded by shadows, I’m often terrified for the character because I can’t see what’s behind them. Here, there’s time to gaze more deeply into every scene. I can see where the paint is flaking, where the tile changes, what the light suggests, I can see everything behind them and be deeply excited to be in that moment alongside them. There is a trade-off – it’s scary instead of terrifying. You’re not going to find the most intense horror here, and that can make things feel a little too funhouse for some viewers. For others, that depth of texture becomes a sort of worldbuilding through tone that feels excitingly participatory in nature.

They’re different kinds of horror. Some like both, some only one or the other. Which kind you like will tell you whether you can get invested and excited for “Cracow Monsters” or if you want something less consciously cinematic in nature. “Cracow Monsters” won’t convince you to like a kind of horror aesthetic you don’t, but if this kind of horror fantasy is a style you’re already into, it’s a very strong entry.

You can watch “Cracow Monsters” on Netflix. All eight episodes are available immediately.

If you enjoy articles like this, subscribe to Gabriel Valdez’s Patreon. It helps with the time and resources to write more like it.

New Shows + Movies by Women — March 18, 2022

I have a lot to say about the first series and its creator’s history. It’s important for me to share as much as I can find, but when something intersects with racism, that’s also important to highlight. A big part of the way I write this feature is to highlight the names of women behind these shows and movies, but when one of these names has a history with a racist project, I find myself not always knowing what to do. I also find myself nervous about the specific kind of racism. If I talk about someone being racist toward Black or Asian people, I’m not Black or Asian. I don’t feel doubtful for saying something’s racist because there’s no internal monologue telling me I shouldn’t. There are Black or Asian voices I can point to; I can follow their lead.

When a creator has been racist toward Mexican people in their work, that is something I’ve endured. It is something that has targeted me. It’s a pain I know and have inhabited. Discussing it opens up vulnerability and trauma I’ve experienced. Because I’ve so often been told by the people applying that racism that I’m overreacting or that it doesn’t exist, even bringing it up makes me terrified that no one will take it seriously. I can’t follow someone else’s lead because it’s my lead. My work as a Latino writer isn’t just in reckoning with it, it’s in proving to others that it exists, proving to others that my voice is legitimate to talk about its existence. I have to prove to all that vulnerability and trauma stacked up in me that I’m able to do it even as that ingrained self-doubt tells me in countless ways I can’t possibly do it right. I’m supposed to be one of those voices. If I don’t speak, I know I’m repeating the marginalization that expects me as a Latino to be too exhausted and afraid to do so. If I do speak, I have to wade through all that marginalization I’ve internalized to just get to the first word.

It’s like this with all marginalizations; this moment it’s just my turn. But whoever’s ‘turn’ it is, realize they’re terrified to be taking it. It’s unfair that the work of proving it – whether for Black, Asian, Latine, indigenous, women, disabled, LGBTQ+ writers, the list goes on – that the burden of all that work is on the shoulders of whoever is facing the bigotry aimed at them in that moment. It is an unfair critical structure that our culture assumes as its default. To speak is needed, and the burden of that is it demands repeating the internal experience of violence. To not speak may avoid that direct pressure point, but asks the quieted to live inside and legitimize their marginalization. Men need to understand that for women. White people need to understand that for people of color. Enabled people need to understand that for disabled people. Cis het people need to understand that for LGBTQ+ people.

The purpose of this feature is to highlight work by women and to help make the women doing that work better known. I don’t always know how to call something out when the history of that person’s work itself platforms racism, misogyny, ableism, or other forms of bigotry. I’ve cut things before because they’re blatantly, explicitly hateful. I won’t platform bigotry, but there’s a lot that rides the line, or that comes from someone who featured bigotry in one project…but perhaps not this one.

I’m sure there are some things I don’t see – especially with not being able to watch everything that’s featured here. I specifically want to make this article series as informational as possible because that helps me mitigate potential forms of implicit bias I may not recognize I hold. When a creator has made racist work before, I hope readers realize bringing it up is about the racism, and that does have a place being discussed when that work is featured for another reason. I hope to see the creator I’m about to highlight surpass that racism, to isolate it to a prior point in her career, but without seeing some kind of reckoning with that prior work, the only other option is to talk about the nature of it and the impact it has.


Minx (HBO Max)
showrunner Ellen Rapoport

“Minx” follows Joyce as she creates the first erotic magazine for women in the U.S. “Minx” takes its inspiration from a number of similar magazines that started publishing in the 70s. Ophelia Lovibond and Jake Johnson star.

Ellen Rapoport previously wrote and produced on “Three Moons Over Milford”. She got her start as a writer on “The Jamie Kennedy Experiment”.

I’m trying to figure out the right way to say this because the moment I looked at Rapoport’s project history my heart sank. She wrote a film called “Desperados” which was incredibly racist toward Mexicans in an era when that racism is even more dangerous than usual. When a creator has done that before, I can’t feature something from them without noting it.

Like I said, I strive to keep this feature informational, but that is information to me because that kind of racism is dangerous in general and it’s specifically dangerous to me and my family. What makes us safer is other people realizing that is information as well, and not some kneejerk or emotional interpretation. When someone is racist, the fact that they are racist and have done something racist is information we need other people to understand instead of dismiss. The kind of things Rapoport wrote in “Desperados” are the kind of things that make people feel legitimized in dehumanizing or threatening Latine people. I wrestled with whether I should even feature this project or not, but there’s nothing that immediately points to “Minx” sharing that racism. That doesn’t make me feel immediately safer because “Desperados” didn’t look racist from its press releases and trailer either.

This isn’t a case of me harping on something minor; “Desperados” was repetitively racist and dehumanizing. To share another project from the same creator without talking about that would be to participate in my own dehumanization and marginalization. I’m hoping it was isolated to that one project because I’m genuinely interested in “Minx”, but I know from experience that hope is not often sustained.

You can watch “Minx” on HBO Max. Two new episodes arrive every Thursday, for a total of 10.

Standing Up (Netflix)
showrunner Fanny Herrero

In this French comedy, four young Parisians juggle stressful lives and jobs while trying to make it as stand up comedians.

Showrunner Fanny Herrero also created French comedy “Call My Agent!”.

You can watch “Standing Up” on Netflix.

The Newsreader (Roku)
directed by Emma Freeman

Anna Torv plays a news anchor who takes a reporter under her wing and trains him. They develop a bond as they cover the whirlwind of news the mid-80s brought. The series is set behind-the-scenes at an Australian broadcast news program.

Emma Freeman has directed on “Stateless” and “Miss Fisher’s Murder Mysteries”, among other Australian series.

You can watch “The Newsreader” on Roku. All six episodes are available immediately.

Cracow Monsters (Netflix)
showrunner Kasia Adamik

In this Polish fantasy series, a medical student is pulled into a circle of investigators who hunt monsters and gods from Slavic mythology.

Kasia Adamik’s shows regularly contend at the Polish Film Awards, with “Wataha” winning two of its three best series nominations, and “1983” being nominated. For “Pokot”, she was also nominated for Best Film and Best Director alongside her mother and co-director, the great Polish filmmaker Agnieszka Holland.

You can watch “Cracow Monsters” on Netflix. All eight episodes are available immediately.

The Paradise (Acorn TV)
directed by Marja Pyykko

In this Finnish-Spanish mystery series, a Finnish family is found murdered in Spain’s Costa del Sol. They send an investigator to bridge the Finnish community and Spanish investigators there. The series is told in Finnish, Spanish, and English.

Director Marja Pyykko is a fairly prolific director of Finnish TV.

You can watch “The Paradise” on Acorn TV. All eight episodes are available immediately.

Welcome to Flatch (Fox)
showrunner Jenny Bicks

A U.S. remake of BBC mockumentary series “This Country”, “Welcome to Flatch” sees a documentary crew film the young adults of a small town.

Showrunner Jenny Bicks was a producer on “Sex and the City”, and wrote and produced on “The Big C” and “Men in Trees”.

You can watch “Welcome to Flatch” on Fox. New episodes arrive every Friday.

Lust (HBO Max)
directed by Emma Lemhagen

No English trailer available, but in this Swedish series, Anette takes part in a government study about the sex lives of women in their 40s. This evokes her and her friends to reflect on how the study’s questions play into their lives.

Emma Lemhagen directs. She’s helmed films in Sweden since the 90s.

You can watch “Lust” on HBO Max. All episodes are available now.


Love After Love (MUBI)
directed by Ann Hui

In the 1940s, a girl is sent from Shanghai to Hong Kong so she can continue her education. Instead, she starts working for her aunt to seduce the rich and powerful.

Ann Hui is a legendary Hong Kong director who’s won Best Director at the Golden Horse Awards three times and at the Hong Kong Film Awards six times.

This is the third time Hui has directed an adaptation of Eileen Chang’s writing. Chang was a feminist writer of the 1940s who fled the Communist regime. Another adaptation of her work that might be familiar to Western audiences is Ang Lee’s “Lust, Caution”.

You can watch “Love After Love” on MUBI.

Master (Amazon)
directed by Mariama Diallo

Three Black women at a college in New England begin to share strange experiences. Regina Hall and Zoe Renee star.

Writer-director Mariama Diallo wrote and directed on experimental series “Random Acts of Flyness”. This is her first feature film.

You can watch “Master” on Amazon.

Violet (Showtime)
directed by Justine Bateman

Violet suffers anxiety. Knowing she makes her decisions out of fear, she puts herself in fearful situations in order to break the cycle. Olivia Munn stars.

Justine Bateman is best known as an actress going as far back as “Family Ties”. This is her first feature as writer or director.

You can watch “Violet” on Showtime.

Cheaper by the Dozen (Disney+)
directed by Gail Lerner

Zach Braff and Gabrielle Union star in this remake of the 2003 Steve Martin/Bonnie Hunt comedy. It centers on a chaotic family of 12.

Director Gail Lerner has helmed episodes of “Grace and Frankie” and “Black-ish”. This is her first feature.

You can watch “Cheaper by the Dozen” on Disney+.

Rescued by Ruby (Netflix)
directed by Katt Shea

A state trooper partners with a rescued shelter dog in an attempt to get into the K-9 Search and Rescue unit.

Director Katt Shea started out as an actress in the 80s, but was soon directing films for legendary B-movie maker Roger Corman. Her big break came in 1992 with the infamous “Poison Ivy”. After 18 years away (since 2001), she returned with “Nancy Drew and the Hidden Staircase” and seems to be focusing on the family genre. (In a weird twist, this also stars Scott Wolf, an actor on Melinda Hsu Taylor’s very different “Nancy Drew” series, which I highly recommend. I look forward to winning a pub quiz with this trivia several years from now.)

You can watch “Rescued by Ruby” on Netflix.

Take a look at new shows + movies by women from past weeks.

If you enjoy what you read on this site, subscribe to Gabriel Valdez’s Patreon. It helps with the time and resources to continue writing articles like this one.

New Shows + Movies by Women — March 11, 2022

There’s a lot to get into, so let’s dive right in this week. New series come from France, Japan, Romania, the U.K., and the U.S., while new movies come from the Czech Republic, Poland, and the U.S.


Shining Vale (Starz)
co-showrunner Sharon Horgan

Courteney Cox and Greg Kinnear star in a fantasy comedy about a family that moves into an old home known for its horrible past. Things get stranger and stranger, but the only one who seems to notice is Cox’s Pat, who suspects she might be possessed.

Sharon Horgan created and showruns “Shining Vale” with Jeff Astrof. An Irish actress and writer who became involved in BBC productions, she produced, wrote, and starred in “Catastrophe” and “Pulling”.

You can watch “Shining Vale” on Starz. The first two episodes are out now, with new ones dropping every Sunday.

The Last Days of Ptolemy Grey (Apple TV)
half-directed by women

Samuel L. Jackson plays an elderly man with dementia. He has one last chance to remember his past and investigate the death of his nephew. The series is based on the novel by Walter Mosley.

Hanelle M. Culpepper (“Star Trek: Picard”, “Gotham”) directs 2 episodes, and Debbie Allen (“Everybody Hates Chris”, “Scandal”) directs one.

You can watch “The Last Days of Ptolemy Grey” on Apple TV. The first episode is available now, and new episodes arrive on Fridays.

The Thing About Pam (NBC)
showrunner Jenny Klein

Renee Zellweger stars as Pam Hupp in a comedy adaptation of a recent murder. Hupp was initially successful in framing someone else for the crime. Judy Greer and Josh Duhamel co-star.

Showrunner Jenny Klein has written on “Supernatural” and produced on “The Witcher” and “Cloak & Dagger”.

You can watch “The Thing About Pam” on NBC or Hulu. The premiere is available now, with new episodes on Tuesdays.

Ruxx (HBO Max)
showrunner Vera Ion
mostly directed by Iulia Rugina

Can’t find a translated trailer for this Romanian romantic dramedy. It follows Ruxx, who’s navigating political work, family, and romantic life, as well as the toxicity and misogyny that enters into each.

Showrunner and writer Vera Ion is a Romanian playwright. Iulia Rugina directs six of the eight episodes, and she’s already seen two feature films and two short films nominated in the Gopos Awards, Romania’s equivalent to our Oscars.

You can watch “Ruxx” on HBO Max. Three episodes are available now, with a new one dropping every Tuesday.

The Chelsea Detective (Acorn TV)
half-directed by Darcia Martin

Two detectives investigate the elite of London’s Chelsea neighborhood in a new four-episode series. As is the case with many British mysteries, each episode lasts around an hour-and-a-half.

Darcia Martin directs two episodes. She’s directed on “Shakespeare & Hathaway” and “Father Brown”.

You can watch “The Chelsea Detective” on Acorn TV. The first mystery is available, with a new one debuting every Monday.

Weekend Family (Disney+)
half-directed by Sophie Reine

Emmanuelle is an academic who falls for a man with three children. Each has a different mother who’s very involved in their lives, and the entire family gets together every weekend. Emmanuelle learns how to navigate the situation over the course of eight episodes. This is Disney+’s first original series in French.

Sophie Reine shares directing duties with Pierre-Francois Martin-Laval, at four episodes apiece. Reine is a prolific editor of French film. She edited “The Connection” and won a Cesar award (France’s Oscar equivalent) for her editing on “The First Day of the Rest of Your Life”. She was also nominated for Best First Film for her “Cigarettes et chocolat chaud”.

Disclosure: I know Emmanuelle’s voice-over artist on the English dub, Jessie Hendricks.

You can watch “Weekend Family” on Disney+. All 10 episodes are available immediately.

Kotaro Lives Alone (Netflix)
directed by Makino Tomoe

In this anime, a manga artist who’s become unpopular finds himself caring for a 5 year-old child who lives alone.

Makino Tomoe directed her first series last year with “Woodpecker Detective’s Office”. She’s worked her way through key animation, storyboard, and episode direction jobs on various anime.

You can watch “Kotaro Lives Alone” on Netflix. All 10 episodes are available now.


Turning Red (Disney+)
directed by Domee Shi

In Pixar’s latest film, Mei Lee is a 13 year-old girl who’s struggling through adolescence. Making things more complicated is the fact that whenever she gets excited, she turns into a giant red panda. Aside from Rosalie Chiang as Mei Lee, the voice cast also includes Sandra Oh, Maitreyi Ramakrishnan, Orion Lee, and James Hong.

Director and co-writer Domee Shi won an Oscar for Best Animated Short with “Bao”. She’s also been a storyboard artist on “Inside Out”, “Incredibles 2”, and “Toy Story 4”.

You can watch “Turning Red” on Disney+.

Mainstream (Showtime)
directed by Gia Coppola

Andrew Garfield stars as a major social media influencer who builds his brand off impostor syndrome. Those around him participate in an organized, insincere chaos, less and less sure if they’re the parts they play or the people lost in them.

Director and co-writer Gia Coppola is the niece of Sofia Coppola and granddaughter of Francis Ford Coppola. This is her second feature after 2013’s “Palo Alto”. She’s also directed music videos for Carly Rae Jepsen and Blood Orange.

You can watch “Mainstream” on Showtime, or see where to rent it.

India Sweets and Spices (Hulu)
directed by Geeta Malik

Alia returns from college during the summer, only to find her parents’ past secrets are disrupting the family she thought she knew.

This is the second feature from writer-director Geeta Malik after the well-regarded “Troublemaker”. She started out in the industry as a grip and assistant camera, in between making short films.

You can watch “India Sweets and Spices” on Hulu, or see where to rent it.

Even Mice Belong in Heaven (Tubi)
co-directed by Denisa Grimmova

In this Czech stop-motion animated film, a mouse and fox meet in animal heaven. They become friends, only to be reborn into opposite roles.

Denisa Grimmova directs with Jan Bubenicek. This is her first feature film.

You can watch “Even Mice Belong in Heaven” on Tubi, or see where to rent it.

Autumn Girl (Netflix)
showrunner Katarzyna Klimkiewicz

This Polish drama follows Kalina Jedrusik. The singer and actress came to symbolize women’s sexual freedom and independence in the 1960s.

Katarzyna Klimkiewicz directs and co-writes the series. She won a European Film Award for her short “Hanoi-Warszawa” in 2009.

You can watch “Autumn Girl” on Netflix.

Mark, Mary & Some Other People (Hulu)
directed by Hannah Marks

Newlyweds give non-monogamy a try in order to stabilize their relationship.

Writer-director Hannah Marks is better known as an actress in “Necessary Roughness” and “Dirk Gently’s Holistic Detective Agency”. However, she’s also written “Banana Split”, and wrote and directed “After Everything”.

This was previously featured, but you can now watch “Mark, Mary & Some Other People” on Hulu, or see where to rent it.

Take a look at new shows + movies by women from past weeks.

If you enjoy what you read on this site, subscribe to Gabriel Valdez’s Patreon. It helps with the time and resources to continue writing articles like this one.