Taking Lives (2004) – "The psychopath has no emotions. He considers murder as trivial as a meal."

Illeana is called in to investigate a serial killer who disfigures his victims and severs their hands.

The film manages to stand out from the flood of thrillers that followed the success of Se7en and The Silence of the Lambs. The storyline and investigation are captivating. I didn’t find the main twist to be as mediocre as many critics claimed, even if they argued the killer’s identity was obvious. Alternating between the actress’s voluptuous presence and grotesquely decayed corpses creates a striking impression. However, the ending feels rushed and clumsy, and Angelina Jolie is far from convincing as an FBI agent.

Opening Night (1977) – "I’m aging. How can I fix it?"

A theater actress is deeply shaken after witnessing the death of a fan.

The protagonist’s character is plagued by an insurmountable fear of aging—a fear she openly claims to ignore but is soon consumed by. (After all, an actress is expected to stay young and beautiful.) This sets the stage for a poignant introspection, as she struggles to distinguish fiction from reality in a film that brilliantly examines the life of a performer. The deceased teenager serves as a clever yet grim metaphor for the artist’s lost youth. Gena Rowlands gives a spectacular performance as a depressed alcoholic. In short, this is a film that explores familiar territory for its director, offering a departure from the mainstream.

Gloria (1980) – "I hate kids... especially yours."

Gloria is pursued by the mafia because of a child left in her care.

The unlikely duo’s chemistry works wonderfully despite the characters being underdeveloped. The director beautifully captures the streets of New York. Gena Rowlands, the director’s muse, is flawless in her role as a fierce and tough woman. However, while the screenplay is original and feminist, it’s fundamentally inconsistent—such as her blatant use of a revolver in public when she should be discreet. It could have been an insightful exploration of burgeoning maternal instincts, but it falls short of that potential.

Paulie, the Talking Parrot (1998) – "Never put off until tomorrow what you can do today."

"I told you talking would only get us into trouble."

Paulie, a talkative green parrot, and Marie, a young girl with a speech impediment, form a close bond. Concerned about their relationship, her parents sell the bird to a pawn shop. The film follows Paulie’s desperate journey to reunite with her.

The chatty parrot doesn’t just mimic empty words; he composes his own thoughts. I was deeply moved by this modest yet impactful film, perhaps because it left a strong impression on me as a child. While some might criticize its overly wholesome tone, this only adds to its charm.