The Devil Wears Prada (2006, David Frankel) That’s all.

Beef s2 (2026, Lee Sung-jin) I grasp at all of that. I steal it. I steal all of it to try and construct this crutch to prop me up. ‘Cause I don’t even know how to stand anymore. Whatever your Achilles heels is, that little spot … I know you think you’ve got time to work on it, and you do — you have a lot of time — but little by little, life’s just gonna chip away at it. You’ll think, “Okay, well, my shit’s not so bad.” It’s a fleeting thought, a little temptation here and there. “Once I get the job, I’m gonna deal with my shit.” But then you’ve gotta get the promotion. And you gotta get the house. And then every interaction becomes about me, me, me. “If I do this for Troy, then maybe Troy will help me later.” You start thinking that way because it’s the only way to keep your head above water. And when you finally catch a breath and go to stand on your own two feet, that Achilles heel is just gonna give out. You’re gonna fall, and you’re gonna grasp at everyone around you. But it’s too late. You’re going down. That fleeting thought is who you are now. And you’re never gonna change.

Wicked Little Letters (2023, Thea Sharrock)

Peaky Blinders: The Immortal Man (2026, Tom Harper) Once, I nearly got fucking everything. But nearly doesn’t count.

Train Dreams (2005, Clint Bentley) Even though that old world is gone now, even though it’s been rolled up like a scroll and put somewhere, you can still feel the echo of it. Sometimes it feels like the sadness will just eat me alive, but sometimes it feels like it happened to somebody else. He felt that he was only just beginning to have some faint understanding of his life, even though it was now slipping away from him.

Sentimental Value (2025, Joachim Trier) I was alone in the house again, lying in my bed, crying. I know everyone lies in bed crying, but … Someone said praying isn’t really talking to god. It’s acknowledging the despair — to throw yourself on the ground because that’s all you can do; not unlike lying with your heart broken, thinking, “Please call me. Please forgive me. Please take me back.” And I had fucked up. And I was alone, and crying. And then, for the first time, I sat down on the floor, and prayed. I don’t know who I said it to, but I said it out loud: “Help me, I can’t do this anymore. I can’t do it alone. I want a home. I want a home.”

Wake Up Dead Man (2025, Rian Johnson) Do these stories convince us of a lie or do they resonate with something deep inside us that’s profoundly true, that we can’t express any other way except storytelling?

Eternity (2025, David Freyne) We never had a chance to see where our love would take us. But you gave me everything that I needed in the time we had.

The Love Witch (2016, Anna Biller) The whole history of witchcraft is interwoven with the fear of female sexuality. They burned us at the stake, because they feared the erotic feelings we illicited in them. Later, they used marriage to hold us in bondage, and made us into servants, whores, and fantasy dolls; never asking us what we wanted.

Women on the Verge of a Nervous Breakdown (1988, Pedro Almodóvar) How many men have you had to forget? As many as the women you remember. Don’t go. I haven’t moved. Say something nice. Yes. What shall I say? Lie. Tell me you’ve waited for me forever. I’ve waited for you all these years. Say you’d die if I didn’t return. I’d have died if you hadn’t returned. Say you still love me as I love you. I still love you as you love me.

Frankenstein (2025, Guillermo del Toro) To be lost and to be found; that is the lifespan of love. And in its brevity, its tragedy, this has been made eternal.

Kedi (2017, Ceyda Torun) Especially in this country, in a city like this, it’s very difficult to be a woman, to be female, to express your femininity, to be defiant with your femininity. Being female — and if you’re a “pretty little thing” — you feel like you have to account for all of it.