So far, 2015 has been a fantastic year for film. I haven't decided if it's due to the fact that the quality is substantially higher or that I've simply been seeking out more films. At any rate, there have been some truly visionary films that have pushed their way to the forefront, but sadly stayed somewhat out of the public eye. These aren't your "Jurassic World" and "Furious 7" franchise films, these are truly original, intriguing and, in some cases, groundbreaking films.

Let us begin, shall we?

"A Girl Walks Home Alone At Night"
Directed by Ana Lily Amirpour

I was honestly speechless after I saw this film. I didn't really know what to think about it. I had gone to see it with friends and afterward, we went out to dinner and talked about it a lot. After that, I really settled on an opinion. It was definitely not the kind of film that I had envisioned from the trailer, but it was still great. There were some parts that seemed painfully slow-paced, but the movie made up for it with stunning visuals.

Every scene between the two lead actors was incredible. Their moments together were so magnetic and hypnotizing that I was left begging for more by the end. Speaking of the ending, it was very abrupt in my opinion, and I felt it left the door open to a lot of possibilities.

Sheila Vand was just fantastic as the Girl; she really made the film for me. Everything I love about the movie had something to do with her. She was so transfixing and alluring, yet terrifyingly mysterious — it was truly an experience.

There were many times I found myself being sucked into certain scenes that were really ambient and not unlike slow-motion. I usually don't get sucked into films in a big way because I'm so used to looking at them from a filmmaker's or storyteller's point of view. It was refreshing to be able to really get engulfed by the story. If you're looking for a brief explanation of the film, just picture a Lynchian vampire western, and you have "A Girl Walks Home Alone at Night."

"It Follows"
Directed by David Robert Mitchell

I had the luxury of seeing this film in the theater. What a treat.

I don't know what it was about this film, but I thought it was fabulous. The plot and premise were so original, but still they pulled from the classics. Every scene was filled with a rush of tension and great thrills. The paranoia that sinks in during the film is incredible; you find yourself paying close attention to all action in the background to maybe catch a glimpse of what "follows."

Unlike some specialty horror films, nowhere is off limits. You're not just at some camp or in your dreams or in a deserted landscape; you're at home, at school. This was a concept made famous with Carpenter's "Halloween," only now it gets a long-overdue modern spin. Nowhere is safe, and every minute could be a matter of life or death. That's what fascinated me about the film. Not to mention how I loved that there was immediately a sense of community between all the leads and supporting characters. From the first handful of scenes, you felt right in the moment with the cast, as if you too were experiencing the nightmare firsthand.

The only very minor issues I had with the film were What is the backstory or origin of this phenomenon? Also, What is it's motive of the killer?

On the other hand, the fact that you don't know this information is what makes it so surreal and frightening.

"Me and Earl and the Dying Girl"
Directed by Alfonso Gomez-Rejon

This film is a movie buff's necessity. There are many quirks and references that feel like that of an independent film. And the references, my god: "400 Blows," "Nosferatu," "Blue Velvet," "Night of the Living Dead," "Dawn of the Dead," "Taxi Driver," "Love and Rockets," "8 1/2," "Contempt," "Pussy Riot," "Eyes Wide Shut," "Peeping Tom," "Citizen Kane,

and so many more. Most are references the average movie goer would never get. Sometimes these easter eggs even had me not paying attention to the dialogue which I guess is a bad thing, but I don't care.

This was a great film. It got a little slow toward the end, but it picked up on all the clichés of the genre and did well pulling from them. It was authentic and real and very funny. Nick Offerman was fantastic and the "seemingly" unknown main cast was great.

The cinematography was beautiful and one of the best aspects of the film with some obvious Wes Andersonisms, which is to be expected from these kinds of films. A great book adaptation that rivals and conquers "The Fault in our Stars."

Granted, the original release dates for the first two films were in 2014, they were released wide in 2015. These films are all truly original in their own glorious way. A true reminder that Hollywood or "Off-Hollywood" is still capable of producing true, genuine cinema.