Film
The Good Girls
The Good Girls captures a family's unraveling as Mexico's 1982 economic collapse strips away everything they believed protected them. It's a quietly devastating chamber drama about privilege meeting hard reality, told through the fractturing relationships between a socialite, her husband, and their household. For anyone who finds meaning in watching comfortable certainties dissolve.
Should you watch it?
Watch it if you enjoy slow, observant dramas where the larger historical pressure seeps into a marriage and a social circle, and you'd rather sit with quiet unease than wait for big events.
Skip it if you need a brisk plot or a clear sense of where things are heading, since this one moves at the pace of its characters' private anxieties and rarely pushes forward.
What it asks of you: Roughly ninety-nine minutes of patient, low-key attention, with a tone that stays measured and restrained, asking you to read faces and silences as much as dialogue.
Not sure? Find tonight's pick in a minute.
If you liked this
Y Tu Mamá También2001
A panoramic view of class, desire and mortality across Mexico, told with equal parts sensuality and heartbreak. The friendship between two young men becomes the lens through which the country itself comes into focus.
But The sexual frankness and adolescent behaviour might feel gratuitous if you're watching for social critique rather than intimate character study.

The Heiresses2018
Two wealthy Paraguayan women lose everything and have to rebuild their lives. It's exquisitely paced and resists easy judgment—it finds the dignity and comedy and genuine connection in what might have been a simple tragedy.
But The pace is deliberate to the point of stillness; if you need plot momentum, this will feel like watching paint dry in a museum.

Amour2012
An elderly couple faces decline and loss with unflinching honesty. Haneke refuses sentimentality; what you get instead is the raw detail of how a marriage survives its own ending, or doesn't.
But It is genuinely difficult to watch. The film earns that difficulty, but you need to be prepared for scenes that don't look away.

Not sure tonight? Get a pick in a minute, starting from The Good Girls
The wildcard
Something you would not have found on your own.
Holy Smoke1999
Both films track the moment when someone realizes the life they've built is built on an illusion, and what happens when that scaffolding collapses. Both refuse easy sentiment about loss.
Kate Winslet plays a woman deprogrammed from a cult; Harvey Keitel is the expert hired to save her. It's farcical and then it's tragic and then it explodes into something neither character expected. Jane Campion at her most fearless.
But The tonal shifts are violent; the ending will seem to come from nowhere. Some will call it brilliant, others will feel cheated.

More like this (8)
A Prophet2009
A young man enters prison and emerges transformed—a precise, brutal story about survival and the systems that shape us. The cinematography alone justifies every minute.
But The prison setting is claustrophobic and sometimes violent. It's entirely earned, but it never lets you get comfortable.

The Milk of Sorrow2009
A Peruvian woman inherits trauma she didn't live through. It's a magical realist meditation on how violence echoes through generations, wildly inventive in form and visually stunning.
But The narrative is deliberately oblique and dreamlike. If you need clarity and straightforward storytelling, the symbolism will frustrate rather than transport you.

Burn2019
A slow-burn (forgive it) portrait of two people on the margins—a photographer and a woman he becomes obsessed with. It's achingly intimate and rewards close watching.
But The pacing is glacial and the emotional stakes are small. For some viewers it will feel like nothing happens, because almost nothing does.

Talk to Her2002
Almodóvar explores the strange tenderness between two men bound by the women they love. It's melodramatic and moving in equal measure, with a moral ambiguity that lingers long after.
But The film contains a scene of sexual violation that's played as poignant rather than condemned. It's intentional but will alienate viewers who see it as ethically unforgivable.

Memories of Murder2003
A serial killer investigation in 1980s South Korea becomes a meditation on justice, corruption and the limits of certainty. Bong Joon-ho crafts something that feels both procedural and deeply personal.
But The violence is sudden and graphic. The investigation drags across years without traditional catharsis—some find that brilliant, others just exhausting.

The Last Dance2014
A choreographer confronts mortality through movement and memory. It's a formal experiment that works because the stakes are genuinely about loss and the body's refusal to obey.
But If you're not drawn to avant-garde cinema or dance, the conceptual framework will feel like a barrier rather than an invitation.

The White Ribbon2009
Both examine societies (or families as microcosms) where rigid hierarchies and unexamined rules create the conditions for moral collapse. Both suggest that comfort and propriety can be a kind of violence.
A village in pre-WWI Germany is plagued by inexplicable cruelty. It's austere, hypnotic, shot in black and white like a memory that's slowly poisoning itself. A masterpiece about how systems of control breed violence.
But It's nearly three hours, entirely in German, and offers no resolution or explanation. The slowness and ambiguity will feel punishing if you need narrative closure.

The Wailing2016
Like The Good Girls, it's about how quickly authority and understanding collapse under pressure. Both films are interested in what people do when the institutions they trusted turn out to have been illusions.
A Korean detective investigates a murder that spirals into moral chaos. It's a mystery that unmakes itself, asking whether certainty is even possible when everyone is complicit. The filmmaking is virtuosic.
But Nearly three hours, structurally ambitious to the point of bewilderment, and it will actively frustrate anyone seeking a solved case and clear answers.

People
Cast
Ilse SalasSofia
Flavio MedinaFernando
Cassandra CiangherottiAlejandra
Paulina GaitánAna Paula
Johanna MurilloInés
Jimena GuerraCristina
Claudia LoboMariluz- Diego JáureguiJavier
Azul AlenkaGaby
Regina Flores RibotToñis- Alejandro CaballeroMiguel
Daniel HaddadBeto Hadad
Directing
- Alejandra Márquez AbellaDirector
Writing
- Guadalupe LoaezaCharacters
- Alejandra Márquez AbellaWriter
Production
- Maria de Jesus GarciaCo-Producer
- Gabriela MaireProducer
- María José CórdovaProducer
- Rafael LeyProducer
- Rodrigo Sebastian GonzalezProducer