Primetime focuses on how Hansen turned justice into a spectacle for primetime viewers, framing houses of decoys to lure and expose predators on camera. Through the lens of a psychological thriller, Hansen’s pursuit of justice bleeds into his chase for ratings. The film deftly explores this subject with a dizzying minute account of Hansen’s distorted reality. It’s an unnerving, icky descent into liminal madness. Most impressively, it stays in the fever dream of grappling with an inscrutable subject.

Repressed desire and stifled creativity permeate through Olivia Wilde’s dazzling new film, The Invite, a sexy and bittersweet ode to self-love. It’s in the name; Wilde gives us the opportunity to share in a communal, recognizable experience. She delivers on an incredibly stimulating time at the movies, which feels especially satisfying in a time where relationships are filtered through technology.

Over one month has gone by since I left for a two-week trip to the French Riviera, and I’m still basking in the afterglow (not to mention missing those delicious croissants and baguettes). In May, I attended my first ever Cannes Film Festival representing Next Best Picture, and it truly was a life-changing experience. I felt the prestige of the world’s greatest film festival at every screening. I felt the grandeur in every theatre. The magic of the movies was everywhere, starting with several black-and-white photos of Geena Davis and Susan Sarandon from Thelma & Louise. The dynamic duo took me down memory lane of watching that film for the first time, falling in love with both Davis and Sarandon simultaneously. These icons served as daily reminders of the film’s 35th anniversary, and radiated the festival’s immense respect for honoring cinema history.