Deborah Young

A delightfully unpredictable sleeper that proves new Argentine cinema really exists, Suddenly, by 26-year-old Diego Lerman, starts scary, moves through deadpan comic and comes out with a whimsical tenderness for its characters.

Gianfranco Rosi (Below Sea Level, El Sicario: Room 164) brings humor and sensitivity to his filming of the strange denizens who live and work around the Grande Raccordo Anulare, Rome’s huge ring road.

It’s a smart film with engaging moments. But working overtime to build an involving multi-layered drama with a flurry of hand-held camera movements and dizzying flashbacks, it ultimately turns repetitive and annoying.

Despite its paucity of action and some unnecessary repetitions that extend the running time, the story rolls on smoothly.

Likeable if unexciting little tale.

An intellectually rigorous but stylistically staid peep at the 20-something author of Capital and The Communist Manifesto, Raoul Peck’s The Young Karl Marx is at once historically impeccable and a filmic disappointment.

Film has major assets in Walter Carvalho's stunning landscapes and livewire young lead Hermila Guedes, but overall, it's too uninvolving.

The story-telling is a little too pat to deliver the surprise moments that reveal character or sweep audiences up emotionally. The film remains a creepy story with a lot of morbid fascination, set off by the captivating young Florencia Bado in her first screen role.

American Dharma is meant to leave its audience shaken, whatever side they’re on.

Sentimentality and pathos are banned from Hikari’s screenplay, which surprises with its fresh, often humorous realism. This is one of those films that starts slowly and predictably, but when the turning point comes, it lifts the pic into another dimension.

Director Hrvoje Hribar gives a lively professional look to this good-humored film.

A film whose lightness of touch rides a wave of family conflict to perfectly balance smiles and tears.

The film has humanity to burn, but its loose structure makes it hard to connect with the multiple characters.

The winking, rather perverse sexual chemistry between the two charismatic lead actresses, who play sisters (though not twins), is one of the film’s main attractions. But Trapero’s ambitious attempt to strike a unique tone somewhere between serious drama and humorous daytime TV falls awkwardly flat.

It is saved by its underlying theme of forgiveness and reconciliation between long-estranged family members, for whom the cruel memory of the Japanese invasion and occupation of Singapore during World War 2 is still alive.

Hits its stride from the opening scenes and continues hilariously for a while, before declining into more of same. Its undeniable appeal lies in shocking frankness shackled to irony, a combo that should attract indie lovers with psychoanalytic leanings and droll senses of humor.

This film of delicate emotional nuance recounts an enchanting but sad love story.

Precious little is revealed and one is left with the feeling that the material needed a different kind of treatment to illuminate its protagonists.

The special effects are quality fun, the humor only a little Japanese, and the story boasts the offbeat genre twists Miike lovers clamber for.

Though convincingly set in the lower depths of Lima, the story embodies a universal truth about the experience of former soldiers in many times and places.

A sober, thought-provoking response to a tragedy of worldwide import and a much better film than one might expect from the pre-release publicity.

More than a thriller, this adaptation of Jose Saramago’s novel The Double is an absurdist-existential mood piece – and a very dark mood it is.

The central performances by Emile Hirsch and Stephen Dorff hold the film together with the intensity of their brotherly affection and support.

Salma Hayek makes the character an icon of female independence, courage and nonconformity, forecasting special appeal for women viewers.

The story of Mohamed, who leaves behind his normal life for the money and excitement of piracy, is illuminating, even if he is never a terribly sympathetic character that the viewer can warm up to.

The conflict is pretty obvious and the film’s naturalistic shooting style can’t take it to another symbolic level, so as drama, what you see is what you get.

Shot like the grunge version of a '50s noir thriller from France (or Soviet Georgia), the black-and-white 13 (Tzameti) turns into a shocker of Tarantino proportions in protracted sequences of explosive violence that leave viewers quaking.

Though the storyline is dirt simple and not particularly meaningful or involving, the action in this character-driven film is scintillatingly sexy.

Conceptually staggering.

The attention given to constructing each shot makes for a hypnotic visual experience, while lack of a progressive narrative telescopes film's running time into infinity.

Mostly one wishes for a more concise edit that would pull this impressive avalanche of memories and faded photos together a lot sooner.

Both touching and universally understandable, the theme is how an untimely death destroys the fragile fabric that binds a family together.

Feeling more spontaneous and improvised than ever, this tale of chance encounters at a big film festival is easy on the eye and strewn with humorous gems, as it wryly reflects on the festival business and its denizens.

Director Naomi Kawase’s adaptation of Durian Sukegawa’s novel An aims so low that it makes good on its modest ambitions.

Both intensely exciting for its cinematic inventions and terribly uninvolving on emotional and dramatic levels.

One couldn’t wish for a more painstakingly researched or beautifully rendered account of the infamous Dreyfus affair than Roman Polanski’s An Officer and a Spy (J’Accuse).... Yet the result is oddly lacking in heart and soul, almost as though a mask of military discipline held it in check.

Not a cheerful watch: It's a shocking portrayal of rampant racism.

Surprising, disconcerting and droll, this Italo-Swiss co-prod packs the grotesquerie of an Ulrich Seidl film minus the sex, plus vivid acting. Its weakest link is on the narrative level.

While the stories the film tells are lively and never uninteresting, they fail to ignite an emotional explosion. The reach is also too broad for a film.

Gripping drama.

Once Pacino is surrounded by other characters, the comedy comes thick and fast and the material begins to come together in an absurd sort of way.

In his second outing as a director, top thesp Sergio Castellitto (also playing the surgeon) takes the viewer on an emotion-filled ride and brings a violently masculine perspective to the story. However, it is Penelope Cruz who gives the film's knockout performance.

It’s a remarkable film experience in several ways.

Spread over hours of poetic ramblings, the message loses most of its urgency.

Menacing atmosphere created by Dutch helmer Paula van der Oest ("Zus & Zo") does not make up for the weak script's multiple improbabilities, flat dialogue or the discomfort of watching children, the handicapped and even animals being abused onscreen.

David Lynch, The Art Life will entrance the director’s fans and, who knows, inspire budding, out-of-the-box creators in an artistic coming-of-age tale, told in his own words and deliberate tones.

In the end, there is a method in all this madness, suggested by Dafoe’s calm face and reassuring voice as Clint confronts his most emotionally charged memories with courage and curiosity.

The finale is telegraphed far in advance, yet when it comes the drama is so down-played it doesn’t register in its full horror.

The characters are irritating, the look is cheap and the plot is reheated from other movies, but it has to be admitted that Dachra delivers its unsavory thrills.

Night in Paradise contains a lot of good plotting, several amusing characters and a decent array of exciting action scenes and bloodshed. But it is indulgently long.

Ricky Tognazzi's La Scorta topped the Italian box office charts for weeks, thanks to its skill in capturing the country's current political climate in an entertaining action film format. (Review of Original Release)

Though it’s a series that has seen its day, this swan song should attract genre die-hards with its elegant visuals and some humorously imaginative murders which are the director’s trademark.

The overwritten script has so many subplots it’s hard to keep the stories straight, especially when the ending throws a truly unexpected twist. But little matter; the exceptional tech work gives the film plenty of energy and excitement.

Complexly plotted, elegantly shot and orchestrated, this is the kind of long-winded, intermittently involving festival package that will earn the director of Tokyo Sonata more critical appreciation but will struggle to find a theatrical audience. For a film that requires nearly five hours of viewing investment, it feels terribly stingy on the emotional payoff.

The whole project is saved largely thanks to the subtext of ethnic discrimination that runs through the film, and two riveting central performances, which overcome a wobbly start to find emotional balance by the final reel.

Timely and thought-provoking, if a bit rambling.

A film whose very surreal, disturbing first hour dissolves in disappointing B-movie nonsense at the end. Still it’s hard to remember a film about S&M as funny as this one, or one as beautifully and weirdly imagined.

Although all the main characters and plot points survive the transition intact, they don’t carry the same weight. Him and Her have an undeniable literary, collegiate feeling, like reading a long novel and getting to know the characters inside out. Them steps on the accelerator in a sort of Cliffs Notes version.

Where Guan excels is in straight dramatization.

Southpaw sticks to tried-and-tested genre rules, yet an edgy cast — led by formidable leading man Jake Gyllenhaal — keeps the story in sharp focus.

The screenplay struggles to rise above the level of a sociological study into the realm of exciting cinema.

The film is smart with a cool New York irony that is easy to get into, but it owes its principal fascination to the enigmatic Condola Rashad, the stage actress seen in Showtime’s Billions and Joshua Marston’s recent Come Sunday, and her multi-layered performance as a charismatic but mentally disturbed Iraq war vet.

Overlaying the drama with the false cheer of lively music and bouts of humor, the story feels out of touch with the very emotions it desperately tries to evoke. Neither tearjerker nor very affecting drama, it defaults to somewhere in the middle.

Dan Algrant’s lyrical recreation of a father-son relationship seen over time, through memory and music, has a sense of urgent originality that works even apart from its great Tim Buckley score.

A limp-to-wilted film version of Duras' 16-year-long love affair with a young man who became her secretary and literary executor.

A film that lingers in the memory in spite of being rather irritating to watch.

Brings peaks of violence and suspense to the vivid story of a young East European prostitute-turned-cleaning lady intent on carrying out a mysterious mission in Italy.

Pike creates an admirable if flawed Marie whose graceful womanhood battles with her fears of being exploited or bypassed for her gender.

The taut pacing of the original is a distant memory here. On a positive note, Peter Kam’s fine, ever-present musical comment effectively pumps up the tension even when the screenplay fails, all the way to its final crescendo.

Highly engaging performances by Dev Patel in the lead role and Jeremy Irons as his curmudgeonly mentor gradually warm up the Cambridge story, but the Indian part feels perfunctory and unconvincing.

Writer and director Portman's film seems conflicted over whether it is about young Amos or his mother, whom she portrays as a beautiful, cultured woman with a head full of romantic fantasies.

While the exact secret to the film’s high-grossing recipe remains a bit of a mystery, it probably has to do with the good-humored chemistry between the unlikely partners, pushing the limits of censorship in the sexual-innuendo department, and a well-written off-the-wall script that makes audiences laugh out loud.

Majidi is surprisingly comfortable with the Indian setting and with his characters, for whom he exudes empathy. But the screenplay, written by the director with Mehran Kashani, has its ups and downs and longeurs.

Wong is such a fine, subtle actor that it comes as a surprise to find him a superb martial artist as well, as he convincingly demonstrates the superiority of Ip Man’s technique over competing schools.

The sunny, soap-and-water characters and thoroughly upbeat message may not be the stuff great films are made of, but in Jackie & Ryan the modesty of the story, the simple story-telling and honest emotions all come together in a satisfying whole.

Director Andrew Levitas and his co-screenwriters dramatize a riveting story using a mass of groan-worthy genre clichés that ill-serve the truth they are trying to recreate.

Only partially succeeds in interweaving questions of family loyalty with historical memory and the fate of Italian Jews in WW2.

There is a darkness in all these “average” characters, underlined by low-key acting and the film’s sinisterly calm, measured pace.

“Mexico for me is a state of mind,” Iñárritu has said, and Bardo is his own idiosyncratic vision of it. It is a handsomely produced creation in which the director has clearly exercised great control and his stamp is to be found on almost every credit.

For those who like head-on, immersive emotional experiences at the movies, The Sky Is Pink may be a direct hit.

Radha Mitchell stirs memories of complex Allen heroines from Annie Hall on down, even if the action is dispersed via a larger ensemble cast which he currently favors.

Clearly Aïnouz wanted to leave his mark on this alien genre, but Tudor-watchers may part ways with several characterizations, especially that of Katherine herself, updated as a political reformist and arch-feminist by a serious-looking Alicia Vikander.

Those on both sides of the great Cuba divide should find food for thought in these sober, realistic reflections.

Emilio Estevez's Bobby is a passionate outcry for peace and justice in America that becomes deeply involving by the final climactic scene.

Undeniably, Sunset is an impressive piece of filmmaking and from a technical point of view it stirs memories of the boldly shot Hungarian cinema revival of the Sixties.

Despite its careful control of tone and a raging central performance by Ciaran Hinds, which is actually sufficient reason to see the film, this story of a man who plunges into childhood memories in the aftermath of his wife’s death remains admirable but wingless.

Though it risks political incorrectness every step of the way, film is more a pleasant laugher than a sharp-edged satire.

More than in her previous tales of dysfunctional families like "Marriages," she (Comencini) lightens the weight of angst with well-designed subplots, secondary characters and moments of tender humor.

Sorrentino somehow makes it work in a film that is truly a sensual pleasure to watch.

Has the comically grotesque appeal of a Fellini film and could reach out to auds in specialized release. It lacks the originality and invention to go much beyond that.

The choice to have Valentin narrate the tale and make philosophical observations beyond his years becomes irritating at times; ditto the cartoon humor.

Bilal is a grand-scale, fast-paced animated adaptation that is both empowering and inspiring in its call for social justice and equality.

It's a wonderful idea with good crowd-pleasing potential and, had the story-telling been more credible, this could have been a major coup for all concerned.

A little bit like finding an eyewitness to history and then describing everything he feels but not much about the event itself, it leaves the viewer with a sense that something very important has been left out.

Charmingly setting aside glamour for a turn at pure acting, Nicole Kidman zings up the already zingy script of Birthday Girl.

Lam’s filmmaking team deliver thrills on schedule with solid effects, crisp shooting and fast cutting.

It doesn’t really add up to much, beyond a timely reminder that it would be better for everyone to stop uploading and downloading and just unplug and be human.

Audiences hooked on Persian mainstream will devour this irreverent romantic comedy, spiced with saucy dialogue that spoofs traditional gender roles through gritted teeth.

A savvy, fast-paced political thriller dealing with the meteoric rise and fall of a new Russian businessman.

Though it begs for a little lightening up, a moment of irony, a wink at the audience, this dead-serious fairy tale about a mysterious young woman (and a phantom automaton straight out of Hugo) is worth watching for Geoffrey Rush’s sensitive, never pandering performance.

The confused script makes this a tough film for audiences to dig into.

Mary Shelley is a luscious-looking spectacle, drenched in the colors and visceral sensations of nature, the sensuality of young lovers, the passionate disappointment of loss and betrayal. But above all it is a film about ideas that breaks out of the well-worn mold of period drama (partly, anyway) by reaching deeply into the mind of the extraordinary woman who wrote the Gothic evergreen Frankenstein.

Main body of the movie is weighed down by flat, expository dialogue and a lot of pedestrian filming. However, Zeffirelli's shooting of the "Carmen" sequences, which make up a sizable chunk of the film and are far and away the pic's most exhilarating sections, are graceful and fluid.

Intermittently amusing.

If it wasn’t for the charming top-liners who can make literary dialogue sound sexy in their sleep, the war in Fred Schepisi’s Words and Pictures would have to be called off after the opening skirmish.

It is a strange cross-breed between an old-fashioned WWII epic full of genre cliches and a modern update whose meticulous historical recreation is frighteningly real.

It’s all about metaphor and mood, while the storytelling is so lightweight it might not exist. Without it, this drunken boat sailing on poetry can't hold interest for its entire two hour running time.

Characters come and go quickly, leaving a feeling that there is too much compression of the multi-episode story.

Argento fans lusting for a classy slasher movie of the "Suspiria"/"Opera" variety are headed for a disappointing rendezvous with an old-fashioned police thriller, upgraded by serious actors in the main roles.

The idea is original enough to pique curiosity, and the small cast, led by Alba Rohrwacher and the up-and-coming Adam Driver of HBO’s Girls fame, digs gamely into the material, but something is missing.

Running the gamut from social comedy to actioner to war movie, Clash is an original, often quite disturbing experience to watch.

A bizarre combo of upscale French erotica studded with good-humored kinky sex scenes.

The message tends to melt into a paint-by-numbers screenplay that pushes too many genre buttons to be thoroughly exciting.

It’s not very clear if the director-actor-writer-producer has anything vitally important to add to his filmography in this narratively complex, generally downbeat work. What comes through most strongly is a striking sense of loss and disappointment in the character he plays, an aging man whose despair seems very personal and tinges the whole film (which is theoretically a Morettian comedy) with sadness and bitter farewells.

A self-contained master class on cinema.

Fresh and offbeat tale of vendetta.

A road movie short on comedy and drama should at least offer a keen level of observation, but here insight is scarce and emotional resonance is faint.

Constructed like an eerie, metaphorical thriller, this tense, riveting character study offers viewers nearly two hours of emotions with a stunning pay-off no one will be expecting.

A good old-fashioned British spy thriller.

Described by Werner Herzog as “a daydream that doesn’t follow the rules of cinema,” Salt and Fire may be rule-breaking, but the result is one of the director’s least appealing adventures.

It would be hard to find two more contrasting actresses than Otto and Pires, but Barreto plays off their differences in culture and personality.

Silly, childish fun and as relaxing to watch as good American TV fiction -- and with a very similar world view.

This film is straight out of the bottle with no metaphoric or psychological pretensions.

Though Turturro turned this small part into a memorable character for the Coens, Quintana is not so reliably funny here, especially headlining a whole film of very intermittent charm.

The filmmakers take a heroic, action-packed, high-tech approach that empties out some of the originality of this unique female heroine.

There are multiple levels on which to enjoy Roman Polanski’s Based on a True Story (D’Apres une histoire vraie), none of them very deep or complicated. But together they raise the resonance of a masterfully made psychological thriller in the traditional mode.

A heavy-handed reimagining.

Like flipping through the pages of a pulpy best-seller, watching Loving Pablo has its moments of guilty pleasure but leaves an empty feeling when you reach the end.

Awkward performances and dialogue undercut interest in the characters so much that none of their raw, fleshy deaths matter a hoot, and by the time the rip-roaring triple ending rolls around, many viewers will have lost count of who’s still standing and who’s food for the birds.

One feels the lack of an underlying original idea that makes the director’s work so quirky and identifiable, and that also goes for the missing element of ironic-iconic humor that has been slowly disappearing from his films.

Leads Javier Bardem and Elle Fanning are commanding actors who give it all they’ve got to make their characters realistic, but while the film can be intriguing, it is never truly moving.

Though it’s a rare Italian film told from a female p.o.v., “Melissa P.” is pseudo-feminist at best.

Young leads Shota Sometani and Fumi Nikaidou – both experienced film actors – grow in stature as the film progresses to the achingly real final scene, where they are extraordinarily intense and effective.

Like characters out of some Carnival hell, a macho butcher and his born-again wife, a forlorn barmaid, a sinister sadist and the gay manager of a flophouse called the Hotel Texas run in and out of each other's lives in a film as sloppy, sluttish, scruffy and vital as they are.

Cotillard’s performance is luminous throughout, enriching the willful heroine with the depth of a single obsession.

Ali has a deft hand in creating a fantasy world based on the classical Sita-Ravana model, and gives Bhatt free rein to project herself with unabashed teenage appeal.

Despite a few potholes of ennui along the way, pic has enough entertainment value to cross borders and titillate auds with its plentiful nudity and uninhibited sexual mores.

Izzo, who co-starred with Roth-the-actor in Aftershock, is a fine genre actress, standing out from a cast of blonde women with her naturalistic performance and signs of courage and initiative.

On some level, Fritz’s story is compulsive viewing, only you wish you weren’t there.

The drama and intensity that are [Haggis's] signatures are mostly missing from these vividly dramatized but uninvolving romantic crises, none of which are particularly believable.

In this fast-moving, densely plotted black dramedy, a faux scandal raised by an ambitious web TV editor comes close to destroying a number of lives, offering a masterful panorama on urban, middle class China.

It's a messy, childish scrawl of a film, but it is high on energy.

In the end the taste of H.K. filmmaking dominates in the film's deliberately chaotic visual style, a circular narrative that heads nowhere, and lyrical song interludes that abruptly interrupt the non-stop action and camera movement.

Though the bold treatment of homoerotic love in Mexican helmer Julian Hernandez's feature bow Broken Sky is sure to grab attention, it doesn't take long before the picture's torturously slow pace turns an earnest effort into a tedious aesthetic exercise.

In the end, there is just about enough narrative to hold interest, while the lyrical camerawork, constantly in motion, blurred images and all, offers a single emotion that is impossible to stretch over a feature-length film.

The awkwardly titled Every Thing Will Be Fine seems more like a showcase for expressive camerawork pushing the limits of cinematography than anything else. Actors the caliber of James Franco and Charlotte Gainsbourg get the short end of the stick in this angst-ridden drama.

As lovely to look at, relaxing and soporific as the perfect summer day sung by David Bowie at the beginning of the film, Wim Wenders’ The Beautiful Days of Aranjuez scatters some nice ideas amid non-stop French dialogue that only speed readers of subtitles will be able to follow fully.

Intensely present and real even in this sordid role, Ramazzotti shows she is growing into one of Italy's most versatile actresses, particularly in difficult proletarian roles like the one here. She is literally the best thing in this depressing, often shallow film.

Bringing good old-fashioned Mediterranean emotion to a screenplay that feels oh so familiar, this modern-day weepie unapologetically plays to the crowd rather than the critics.

Pic stays on the surface, without attempting any exploration of painful depths. Result is at best amusing; at worst, uninvolving, often confusing, and sometimes a little boring.

Slipping from fantasy to soap opera without any authorial control, pic's best hope is to be recognized as some kind of cult movie of badness.

Has a perverse fascination, despite some technical clumsiness and stiff thesping.

The single location and emphasis on dialogue gives the film the feeling of filmed theater. Pacing can be slow and it is only at the end that an exciting use of music helps the film reach an artificial climax of sorts.

A film about ordinary people doing nothing is a tricky thing, quickly numbing the audience to sleep unless the screenplay is electrifying and the actors greatly appealing. Unfortunately, neither of these is true of Rafael Nadjari’s A Strange Course of Events, which is anything but strange and eventful.

Like an Iraq-war mirror image of "Life Is Beautiful," actor-director Roberto Benigni's The Tiger and the Snow re-runs the successful structure and comic persona of the 1998 Oscar-winning film in a trippy fantasia about a poet who follows his love to hell and, in this happier ending, back.

Film's pared-down look has a stylish simplicity.

Playing dual roles as a rich Irish businessman riding the economic boom and his down-and-out twin, Gleeson animates Boorman's amusing Prince and the Pauper screenplay, which sports a dark social underbelly that puts Ireland's rich-poor divide centerstage

Pleasantly watchable.

Though its subject has curiosity value, its critical view of religious institutions is compromised by an ending that evidently was necessary for the film to be made and released at all.

Gentle, touching tale.

A flashback to the playfully tender East Euro cinema of yore with a forceful if predictable punch in the closing reel, Rajko Grlic's Border Post marks a virile comeback for the Croatian veteran after his weak-kneed "Josephine."

Director Vincent Sandoval (Senorita) seems most interested in is using the convent as a metaphor for Filipino society in the Seventies, which buried its head in the sand while president Ferdinand Marcos declared martial law and police tortured and murdered opposition protestors.

Only the bravura of the cast, first and foremost Park and Lee (both veterans of Unbowed), generates sufficient interest to see the film through to its surprising conclusion, recounted in a respectful coda many years later.

All the actors know how to turn on the charm and director Johnnie To hits the laugh buttons, but the main aim seems to be playing on women’s fantasies about three very hot guys who are dying to drop everything and fall in love.

It’s a timely topic shot around picnic tables with friends and tramping through vineyards from Tuscany to Piedmont, as thought-provoking as it is informal.

Guilty (Talvar) is a gripping thriller and police procedural.

It’s an easy watch, though it certainly could have benefited from a little British warmth and humor (totally absent here.) The English dialogue is also much too elaborate and stilted to be anywhere near believable, further undercutting any remnant of realism.

Variety and depth of character are badly lacking on the female front, weakening the whole film.

It has its harrowing moments, but the psychological thriller Jasmine is an impenetrable mystery for most of its running time, and deliberately so.

A beautiful example of how a memorable film can be made on a shoestring.

It shows the maverick filmmaker once again at the height of his expressive powers. Its stripped-down narrative and uncompromising repetitions will not be tolerable to everyone, but audiences willing to stick out the punishing but dazzling last half hour will walk away with a lot.

The film has a hard time shaking a feeling of filmed theater, particularly with the tight restriction of time and place. But the drama is brightly acted by a competent cast, of whom Jadidi and Izadyar, as the married couple, are the most acidic, while Abar and Alvand are given the most range.

The film itself is not very deep, but for a comedy it has some striking moments, like its canny description of how public opinion can turn.

This thought-provoking drama is long but well-paced, full of incident but at the same time intimate — though shocking violence occurs just offscreen. Illuminated by deeply nuanced performances and characters to care about, it positions itself somewhere between the loving but messed-up families of Edward Yang and Ken Loach.

Tautly shot and edited by a top-flight technical crew and notably scored by Peyman Yazdanian, Just 6.5 is more than a thrilling watch. It is a sobering reflection on the inability of the law to stem the tide of drug addiction through round-ups, arrests and executions. Or perhaps it’s society that needs adjusting?

Dispensing with heavyhanded symbolism, Farhadi tells the tale engrossingly and with a lot of physicality through the two main actors.