- Cannes 2026: Nagi Notes, Ashes (May 15, 2026)
The Japanese director Koji Fukada had a bit of a breakout at Cannes a decade ago with “Harmonium,” which won a prize in the festival’s Un Certain Regard section, but “Nagi Notes” is his first film in competition. It’s also the best of his movies that I’ve seen: a bit schematic, perhaps, but full of subtleties, with a fine appreciation of time and place.
Set over eight consecutive days, the film unfolds in the remote village of Nagi, Japan, where Yuri (Shizuka Ishibashi), an architect, has traveled to see Yoriko (Takako Matsu), a sculptor for whom she plans to pose. When Yuri arrives, Keita (Kiyora Fujiwara), a teenage boy, recognizes her from a drawing made by his friend Haruki (Waku Kawaguchi), an aspiring artist who has met Yuri previously. Yuri and Yoriko are ex-sisters-in-law: Yuri had been married to Yoriko’s brother, Masato (seen only indirectly, in sculpture form), with whom she lived in Taiwan.
This faintly Rohmer-esque setup, which pivots around these four characters and, to a lesser extent, the boys’ parents, sounds simple, but nearly every scene involves an example of one person misperceiving another’s intentions. Yuri and Yoriko are alternately mistaken for mere friends—as opposed to almost-family—and for a romantic couple. The boys’ kinship also has unforeseen complexities. Haruki is curious about Tokyo, a city he knows little about. He also thinks that his father, Yoshihiro (Ken’ichi Matsuyama), would be a good romantic match for Yoriko, whom he seems not to realize is attracted to women (something Yoriko keeps close to the vest in Nagi). And it’s possible that Yoshihiro is actually in love with Yuri—a crush he developed simply by seeing a picture that Haruki had made of her.
“Nagi Notes” turns these misunderstandings into a kind of running commentary on the subjective nature of art, and the parallels between interpreting art and intuiting people’s emotions. Early in the film, shows Yuri a block of camphorwood that she is planning to sculpt: “This is going to be you, Yuri,” she says—but of course, it’s going to be Yoriko’s version of Yuri. Yoriko likes sculpture because she sees it as a fundamentally public art form: open to all, inviting readings. She contrasts this with buildings like the kind that Yuri designs, which require decisions about who can enter and who cannot. Buildings, she says, embody the ideas of authority and selectivity.
It is clear that Fukada has drawn substantially on the location for inspiration. We learn that the area used to thrive on dairy farming until it had to accept a military base, which changed the local economy. (It also ensured that the village became the site of a contemporary art museum, the setting of one scene.) Another motif—in the press notes, Fukada explains that it came partly from a play called “Tokyo Notes”—is the camera obscura, and in particular the device’s capacity to transform three-dimensional reality into a two-dimensional, inverted image. That’s exactly the sort of delicate perspective-shifting that “Nagi Notes” is interested in.
The theme of failing to understand another person’s perspective also figures prominently in “Ashes,” directed by the actor Diego Luna and showing in the festival’s special-screenings section. It’s based on the novel “Ceniza en la Boca” (ash in the mouth) by Brenda Navarro, and while I can’t say whether it’s a faithful adaptation, its expository style might have been better-suited to the page.
The movie begins and ends with departures. As it opens, Isabel (Adriana Paz), a mother, is walking out on her two children in Mexico. The details aren’t made fully clear until much later in the film, but it eventually emerges that Isabel’s destination was Spain, where she hoped to bring her son and daughter legally, to give them a more stable life and perhaps to find fulfillment for herself.
But the bulk of the film—which has a chapter-like structure, with major revelations punctuated by cuts to white—is set years later and focuses on Lucila (Anna Díaz), Isabel’s daughter, and her life after she and her younger brother, Diego (Sergio Bautista), joined Isabel in Spain. Lucila shouldered much of the burden of raising Diego, who is now a teenager and misbehaving at school.
In Madrid and later Barcelona, Lucila takes a series of jobs as a nanny, a food delivery person, and an elder-care aide to make ends meet while partying and chasing guys at night. The children have nostalgia for Mexico; their mother, who, it’s implied, came out in Spain, less so.
All of this information is relayed far more obliquely than is strictly necessary; the script, by Luna, Abia Castillo and Diego Rabasa, treats even basic components of the plot as if they were twists. And while giving viewers the space to get their bearings isn’t necessarily a bad approach, Luna isn’t enough of a visually oriented director to pull it off.
A wildly undermotivated tragic incident triggers a third section back in Mexico, where Lucila gets a sense of the life and the violence that she escaped, and viewers begin to get a sense of just how much the story’s scope has been shortchanged.
- “Dutton Ranch” Keeps the Barn Doors Open for the “Yellowstone” Franchise (May 14, 2026)
The last we saw of Kelly Reilly’s Beth and Cole Hauser’s Rip in the series finale of “Yellowstone,” they had just settled into their new home, a ranch in the quiet outpost of Dillon, Montana. For one perfect, sun-dappled moment, it appeared as if Beth and Rip and their teenage ward Carter (Finn Little) might be able to shake off the ghosts and the pain of the past, and find something approaching tranquility.
Fat. Chance.
Cut to the premiere of the spinoff/sequel series “Dutton Ranch.” Before we even get to the obligatory title card sequence with beautifully atmospheric, neo-Western imagery set against the typically rousing theme from Taylor Sheridan Universe stalwarts Brian Tyler and Breton Vivian, Beth and Rip’s dreams of an idyllic life are shattered. I’ll not reveal the circumstances, other than to say that Beth sizes up the situation and says, “We start again,” and the next stop is Rio Paloma, in South Texas, with a new home for Beth, Rip, and Carter. They purchase a legacy property from a family and rename it Dutton Ranch.
Beth, Rip, and Carter quickly learn that while the tragic and blood-spattered events of Yellowstone are in the rearview mirror, they’ve somehow managed to take root in ANOTHER hotbed of conflict. This is a place where disputes are settled with fisticuffs and guns, where racism and class warfare often bubble to the surface, where revenge and subterfuge are the order of the day, and where the bond of family and friendship is strong. And oh yeah, a potential formidable enemy lives just down the road, and will stop at nothing if you get in their way. It’s as if everyone in this (fictional) town has been waiting their whole lives for the Dutton-Wheelers to show up just so they can ratchet up the conflicts.
(In classic “Yellowstone” franchise fashion, characters occasionally pause amidst the chaos to wax poetic, e.g., Beth saying of Texas, “Sky doesn’t stop here. It’s like you can see forever,” and Rip replying, “Well, baby, if you look hard enough, maybe you can.” Now let’s get back to the action!)
L-R: Cole Hauser as Rip Wheeler and Kelly Reilly as Beth Dutton in Dutton Ranch, episode 1, season 1, streaming on Paramount+, 2026. Photo Credit: Emerson Miller/Paramount+.
With Chad Feehan serving as creator and showrunner (yet reportedly exiting before the show’s premiere), “Dutton Ranch” exists within a smaller world than “Yellowstone”; I don’t think anybody in this series is going to run for governor. Still, like its predecessor, this is a satisfying mix of intrigue, action, and modern Western soap opera, set against the backdrop of the breathtaking yet unforgiving South Texas plains. Reilly and Hauser pick up where they left off and continue their run as one of the strongest, sexiest, most badass TV couples of the decade. They’re joined by an outstanding cast of series regulars, led by two treasured veteran stars in Annette Bening and Ed Harris.
The quality of the writing and the acting is such that it takes only one or two scenes to become familiar with a wide range of characters—some world-weary but warmhearted, some with evil intentions oozing from their pores, others a bit more…complicated. Each episode is like a well-marbled ribeye with plenty of meat on the bone; in fact, one memorable sequence actually revolves around a perfectly grilled steak, and Beth uses her wiles to make sure that particular steak gets put in front of the right man.
As the setbacks and conflicts pile up, Rip exclaims, “What the f— is going on around here?” Rip, we hear ya. “Dutton Ranch” plays like a game of high-stakes Whac-A-Mole for Rip and Beth, with a fresh challenge or obstacle popping up with nearly every sunrise.
Bening plays Beulah Jackson, a kind of Texas counterpart to the late John Dutton; Beulah is the matriarch of the largest and most powerful family ranch in the area, and she rules with an iron fist. (It takes a while to buy into Bening playing such a ruthless character, especially because she’s wearing glasses that make it look like her most dangerous activity is needlepointing after two glasses of Chablis. But we’re talking about a world-class actor. She brings it.)
Annette Bening as Beulah Jackson in Dutton Ranch, episode 2, season 1, streaming on Paramount+, 2026. Photo Credit: Lauren Smith/Paramount+.
Harris’ Everett McKinney—now there’s an All-American name—is a Vietnam veteran who is literally a veterinarian, and looks like he might become a kind of father figure to Beth. There’s a scene where Beulah and Everett sit on a porch and talk about things that were and things that never will be, and Bening and Harris are simply and quietly masterful together.
Other notables include J. R. Villarreal as Azul, a veteran ranch hand who quickly earns Rip’s trust; Jai Courtney and Juan Pablo Raba as Beulah’s sons, and they’re both big trouble in very different ways; and Natalie Alyn Lind as a local girl with a rebellious streak who casts an immediate spell on Carter, who is in WAY over his head.
“Dutton Ranch” hits the ground running and sets up a half-dozen storylines with long-term potential, while creating a whole new branch of the Yellowstone tree. Mostly, though, it’s the continuing story of Rip and Beth, with Hauser and Reilly shining in career-defining roles.
Premieres on May 15 with a two-episode debut, with new episodes releasing weekly on Fridays. Four episodes of the nine-episode season were made available for critics.
- Netflix Turns Up the “Heat” With Its Own “Power” in Hokey Crime Thriller “Nemesis” (May 14, 2026)
The first thing you need to know about “Nemesis,” the latest from “Power” creator Courtney A. Kemp and her partner Tani Marole, is that it is deeply silly. It features lines like a diamond thief saying to his boss, “Call me Sydney Sweeney, because these bitches are all-natural,” or the lead thief telling his crew, “My name may be Coltrane, but I do not play that improvisational shit when it comes to jobs.”
The second thing you need to know is that “Nemesis” is deeply—deeply—indebted to Michael Mann’s 1995 crime thriller “Heat.” That’s nothing new for crime stories, mind; “Crime 101” was practically a copy-and-paste, and that came out just a few months ago. But the spin here is that Kemp and Marole asked themselves, “What if we told another LA-set game of cat-and-mouse between a workaholic cop and an equally dogged criminal mastermind, but the protagonists were Black? And what if we told that story over eight melodramatic hours?”
That over-the-top-ness is central to “Nemesis”‘s DNA, and it’s liable to entertain and frustrate in equal measure. The beats and conventions of this kind of cops-and-robbers story are followed to a T, right down to both men losing themselves in the obsessions of their jobs. The cop in question is Detective Isaiah Stiles (“Abbott Elementary”‘s Matthew Law), your classic loose cannon who breaks the rules but gets the job done; he’s haunted, of course, by past failures, including guilt over the death of a trainee years ago at the hands of a gang of masked robbers he was pursuing. He’s convinced that the group is still operating, and is the same one that just pulled a big job at a high-stakes poker game.
Nemesis. Y’Lan Noel as Coltrane Wilder in episode 102 of Nemesis Cr. Saeed Adyani/Netflix © 2026
Thing is, he’s right; the mastermind behind that heist is Coltrane Wilder (“The First Purge” lead Y’Lan Noel), a pillar of the community who moonlights as a master thief with a four-man crew. Between still grieving his wife Ebony’s (Cleopatra Coleman) miscarriage, and one of his cohorts, Deon (Quincy Isaiah), constantly slipping up and getting in over his head (think Kilmer in, well, “Heat”), ‘Trane is looking for a way out. That means pulling a few “last big jobs,” and fast. That leaves less time for Stiles to sniff him out, especially since he clocks early on that ‘Trane is behind it all. He just doesn’t have the evidence, and a cohort of police superiors (half of whom—Domenick Lombardozzi, Michael Potts, Chris Bauer—are “The Wire” alumni) warn him ad nauseam about the consequences of his obsession to his career and the force.
For the most part, “Nemesis” plays all of these conventions out in derivative fashion, with a slightly soapier twist given the show’s bona fides (“Power” was similarly silly, though the dialogue is especially tin-eared here; “Diamonds are a girl’s best friend, but cash is for grown-ass women,” after all). Frustratingly, its shaggiest episodes also happen to be the ones directed by Mario Van Peebles, who has to fight through all the table-setting that must occur before the really wacky stuff can ensue. There are some fun flourishes in his hours: Coltrane struts into the poker game dressed almost exactly like Nino Brown in “New Jack City” (which Van Peebles also directed and starred in), and a later jewelry heist kicks off with the gang dressed in diamond-studded masks, which is cool. But the real fun stuff builds off the thankless work that Van Peebles’ episodes have to do.
As the series progresses, it gets easier to lean into its lunacy, especially as our heroes on both sides of the law have their personal lives increasingly intertwined with their business. Most refreshing is the way their wives get to play into the action, albeit in contrived ways; of course Ebony will wind up becoming close friends with Stiles’ wife, Candace (“A Black Lady Sketch Show”‘s Gabrielle Dennis), and slowly start to warp their friendship to get her husband off Coltrane’s trail. The twists and turns don’t end there: Of course Stiles’ estranged father, Amos (Moe Irvin), is a legendary LA gangbanger so bloodthirsty that his nickname is “Nightmare.” Of course Coltrane’s fixer for his heists is his girlboss sister-in-law, Charlie (Sophina Brown), who walks around in glamorous outfits with shoulder pads so sharp pigeons couldn’t land on them. The more mustard the creators put on this particular hot dog, the more you just have to embrace the taste.
Nemesis. (L to R) Ariana Guerra as Yvette Cruz, Domenick Lombardozzi as Dave Cerullo in episode 105 of Nemesis. Cr. Saeed Adyani/Netflix © 2026
It’s not all corniness, though, as the later episodes really show off the Century City-set location shooting with some admirably staged setpieces. Law and Noel may not get much opportunity to differentiate themselves from one another (Law, in particular, gets lost in the sauce with his devil-may-care cop, to the point where you don’t necessarily root for him), but they acquit themselves well with a gun. And don’t worry, we get the prerequisite machine-gun fight down a crowded highway with criminals in hockey masks, in case you forgot how indebted to “Heat” this thing is.
To enjoy “Nemesis” requires a hefty tolerance for cheese, and a yearning for the kinds of gritty, but elegant Black crime dramas we used to get in the 1990s: “Set It Off,” “New Jack City,” “Belly.” It would be folly to say that this measures up to those; much as I appreciate the extra room for this larger ensemble to grow, the hour-long runtimes mean that scenes and pacing drag out a bit too much, especially in the middle stretch. But when it pops off, it’s entertaining, and your patience will ultimately be rewarded. It’s closer to “Den of Thieves” than “Heat” for sheer ridiculousness, but if you’re tired of rewatching those, it’ll do in a pinch.
Full season screened for review. Currently streaming on Netflix.
- Cannes 2026 Video #2: A Look Back at Day One of the Fest (May 13, 2026)
The 2026 Cannes Film Festival starts Tuesday, May 12th, running through May 24th. The Ebert team returns this year with coverage of all of the major films in review and video form.
In the latest from Chaz Ebert’s series of remote video dispatches from Cannes, she breaks down the opening ceremonies and the opening-night film, “The Electric Kiss.” She also details the joyous screening of Guillermo del Toro’s “Pan’s Labyrinth,” with del Toro in attendance. We also check in with press conferences with Thierry Fremaux and questions about politics for this year’s Cannes jury.
Enjoy the video and a transcript below.
Day one kicked things off with a parade of international stars and fashion on the red carpet.
At the opening ceremony, hosted by French-Malian actress Eye Haidara, along with the formal introduction of this year’s jury, New Zealand director Peter Jackson was presented by Elijah Wood with an honorary Palme d’Or for his work on The Lord of the Rings films, among many others throughout his career.
Following the ceremony, the opening-night film “La Venus Electrique” played for audiences in Cannes and in theaters throughout France.
But generating more excitement among the cinephiles at the festival was a 20th anniversary screening earlier in the day of Guillermo del Toro’s “Pan’s Labyrinth” playing in the Cannes Classics section.
Del Toro was warmly introduced at the screening by his friend, Cannes director Thierry Frémaux, and gave a heartfelt and funny introduction of the film.
Guillermo del Toro: “Because one thing happens to me as a filmmaker, everybody who liked ‘Hellboy’ when they were 20, now they come to me, and they’re 40.
Everybody who liked “Pan’s Labyrinth” every year is in their 20s. For some reason, it connects with the strength of being young, when the world tells you you’re wrong, and you know you’re right. So I wanted to put it out in the world in a big way so that I can keep connecting with the souls that remain young. So I’m going to sit my gigantic but over there and we’re going to watch it together.”
Chaz: After the film played, del Toro, clearly touched by the response of the audience, spoke again to the assembled crowd.
GdT: “You know, this movie, I think, is for me like a little parable on a little lullaby, a little song. For the times one is down, cinema has saved my life a few times. And, I hope the movie connects with you in that way. I know it has through the decades.
And, this is what film does for us. And this is what art does for us. And fuck A.I.”
Chaz: Political statements and moviemaking are top of mind these days. At his own introductory press conference, Thierry Frémaux was asked about how the Cannes film festival prepares itself to deal with the political issues of the day.
Thierry Frémaux: “Politics is on the screen. That’s what we see in Cannes. So I owe my reputation to my function. I’m not going to put my function in the service of my political opinions, my personal opinions. I could talk about Bruce Springsteen, Olympique Lyonnais, but these are personal views. The Cannes Festival considers that political matters should be addressed through what the filmmakers say and do.
In other words, one has to look at the gesture of artists, view it as an artistic gesture, a question of cinema, and not lend it more meaning than that. One should not lend it more meaning than what will happen in the course of the two weeks here at the Cannes Festival. And then we’ll see.”
Chaz: Politics have always been a hot topic in Cannes. And that’s the subject of today’s Cannes Flashback, recalling the time I asked George Clooney about the upcoming Presidential election in 2016.
Chaz 2016: “Chaz Ebert from RogerEbert.com and the Chicago Sun-Times. Although this film is about past financial misdoings. Can you see this as a harbinger, a cautionary tale, or a harbinger of things to come under a potential President Donald Trump?
George Clooney 2016: “Well, let’s sort of start much simpler. There’s not going to be a President Donald Trump. That’s not going to happen. It’s not going to happen because we’re not going to be scared. Fear is not something we’re going to be; that’s what’s going to drive our country. We’re not going to be scared of Muslims or immigrants or, you know, women.
We’re not actually afraid of anything. So, you know, we’re not going to use fear. So that’s not going to be an issue. If you’re asking if it’s a harbinger, I think that, you know, and I think you would agree, and I think we all sort of see it. I think that’s sort of landed in a way.
Trump is actually a result of many things, including the fact that many news programs didn’t follow up and ask tough questions. That’s the truth. It was, you know, it’s really easy because your numbers go up. All these cable news numbers, this 24-hour news, doesn’t mean you get more news. It just means you get the same news – more.
So the more and more and more you hear. You know, these guys, your ratings go up because they can show an empty podium saying Donald Trump is about to speak, you know, as opposed to taking those 30 seconds and saying, well, let’s talk about refugees, which is the biggest crisis that’s going on in the world right now.
Chaz: And the questions about politics were at the forefront of this year’s jury press conference also….
Park Chan-wook:
I don’t think politics and the arts should be divided. I think it’s a strange concept to think that they’re in conflict with each other.
Paul Laverty:
And isn’t that fascinating to see somebody like Susan Sarandon, Javier Bardem, and Mark Ruffalo blacklisted because of their views and opposing the murder of women and children in Gaza. Shame on Hollywood people who do that. And so, my respect and total solidarity with them.
Demi Moore:
I think part of art is about expression. So if we start censoring ourselves, I think we shut down the very core of our creativity, which is where we can discover truths and answers.
Chaz: On an inspiring note, Jury President Park Chan-wook and Oscar-nominated actress Ruth Negga talked about what it meant to them to get the call to join the jury in Cannes.
Park Chan-wook: I told my wife about the news. I first said maybe I shouldn’t go because, having been a juror here before, I know how stressful the job of being a president is. So I had to spend five minutes really thinking about whether I was ready for this task. But reflecting on my memories of Cannes, where I have screened my films and have been fortunate to win awards, I realized it was time for me to give back and serve the film festival.
Ruth Negga: “My heart skipped a beat, to be honest, and it actually felt like poetry because I was first at Cannes ten years ago. We brought Jeff Nichols “Loving” here, and the warmth, the generosity, the support, the joy that we all felt. I mean, it was unforgettable. I mean, it’s embedded in my memory. And so it’s so special to be invited back here to be on the jury.”
Chaz: That’s all for now, but join us each day for our regular reports, reviews, and reactions at RogerEbert.com/festivals. We’ll keep you on top of everything going on each day at the Cannes Film Festival.
Until next time, au revoir!
- Prime Video’s “Off Campus” is Big on Romance, Music, and Spice (May 13, 2026)
As a self-professed Romance girlie, I’ve frequently written about the difference between a romantic film/show and a romance novel. That difference isn’t semantics. It comes down to the storytelling, the characterizations, and the thing that Romance readers love most: the tropes. “Bridgerton” was the first to recognize this fact. We haven’t seen that dedication to Romance novel-styled storytelling repeated. Until now.
Enter Prime Video’s “Off Campus”, based on the novels by Elle Kennedy. Here, we join the fictional Boston-set university, Briar U, for an intimate look at the love lives and friendships of its hockey team.
Networks and studios are excited about the viewership prospects of hockey/sports romance after the success of “Heated Rivalry.” Why not? Part of launching a hit series is knowing when to catch a wave. However, while both shows are swoony hockey love stories, the two differ in style. The former is a romantic drama, darker in tone and driven by hidden passions. “Off Campus” is playful, at times exuberant, with the trope-y rom-com readers and audiences also crave. The genre is contemporary and new adult—the college-aged or new to the workforce—and although you’ll get some of the same hijinks as in YA, it skews older and does it well.
Logan (Antonio Cipriano), Garrett (Belmont Cameli), Dean (Stephen Thomas Kalyn), and Tucker (Jalen Thomas Brooks) in OFF CAMPUS
Photo: Liane Hentscher/ Prime
© AMAZON CONTENT SERVICES LLC
The first couple in the lineup ignites when quiet songwriter Hannah (Ella Bright) and all-star hockey player Garrett (Belmont Cameli) meet in the locker room showers at Briar University. She sees everything he has to offer—at least on the outside—but it isn’t until they make a mutually beneficial deal that they truly see each other. He pretends to be her boyfriend to make another guy jealous, while she tutors him in philosophy. Classic. It’s a set-up we’ve seen before.
What sets this first season of “Off Campus” apart is how tangible Bright and Cameli make Hannah and Garrett feel. Every shade of emotion is explored; they are vulnerable, quippy, hopeful, and honest in a way that makes you forget their characters are on screen.
The rest of the cast delivers, too. “Off Campus” is boosted by lively, engaging dialogue between characters who are growing toward better versions of themselves. It’s easy to imagine future seasons with John Logan (Antonio Cipriano), Allie (Mika Abdalla), or Dean (Stephen Kalyn), but this is the season of ‘Gannah,’ and the pair is charming in the extreme. If this were a chemistry class, they’d ace it with extra credit. They’re playful, considerate, and have beloved nicknames—he calls her Wellsy because her last name is Wells. So cute.
Beyond their winning portrayals, the heroine and hero are dealing with childhood traumas. As a result, their character arcs are partially defined by their efforts to define themselves without the context of their parents or the people who hurt them badly in the past.
Another factor that makes “Off Campus” work is that Louisa Levy, the series creator, and co-showrunner Gina Fattore understand that romance on TV is common, but true Romance novel formats are hard to find. The story beats and progression of falling in love are different between the two. The series envisions the episodes like chapters, closing out on cliffhangers or with hooks that pull you into the next episode.
Justin (Josh Heuston) in OFF CAMPUS
Photo: Liane Hentscher/ Prime
© AMAZON CONTENT SERVICES LLC
The classic tropes: jock boy paired with nerdy girl, jock needs a tutor, one bed, opposites attract, and the Queen Mother of tropes: fake dating, all sparkle throughout the season. And it’s spicy too. Spice refers to how explicit the sex is, and this show is saucy. There’s lots of sex, but it never objectifies. There’s also nudity, and some of it is full frontal. Just thought I should let you know if you’re a pearl clutcher.
Music as a healing force is part of the connection between Hannah and Garrett, especially classic rock. Early on, I thought of the Fox series “Glee” and was rewarded with a reference. “Off Campus” doesn’t just have a soundtrack; many of the plot beats hinge on music—from classical to rock to pop—and all the sub-genres in between. To accentuate the storytelling, Prime Video bought out the record store with big needle drops and musical guest appearances, including one that fans will be howling for.
“Off Campus” is a swoon-worthy, hot, and heated rom-com-drama that gives its story space to fully bloom just like its characters. It’s a highly enjoyable romance from front to back that’ll leave you wishing, hoping, and anticipating which couple you’ll spend the sophomore season with. Until then, this series will get plenty of replays.
