Glenn Kenny

As concert films go, “You Got Gold” is pretty straightforward. It doesn’t need to be anything more than that. Prine’s songs are full of wisdom, drama, laughs and heartache.

The accretion of detail — narrative, visual and verbal — gives the movie an unusual density. The depiction of human cruelty is appalling, but the way “Graves” makes the viewer feel the necessity of its filmmaker’s calling is profoundly moving.

The revelation of Andersson’s method, his painstaking use of trompe l’oeil both painterly and cinematic, is fascinating enough. But the chronicle takes an unexpected turn.

While it’s not entirely kid-friendly, this portrait of an artist is both enchanting and thought provoking.

The Plagiarists does skewer its characters, but where it goes from there is more genuinely bleak than what mere finger-pointing can achieve.

It’s a provocative addition to the literature of incarceration.

At this point in time, Springsteen is the world’s greatest living entertainer, full stop. “Road Diary,” a new documentary directed by Thom Zimny, offers dynamic proof for this argument.

The movie exhilarates.

In watching a newly restored version, I was struck not only by Björk’s distinctive charisma at 24 years old but also by the talent of the film’s writer, director and editor, Nietzchka Keene.

While, in many respects, it is conventional in form, alternating archival footage from the late 1970s and early ’80s with newly shot interviews, the movie has a momentum (aided by an exemplary soundtrack of songs from the era) and a rare interrogatory spirit.

Ms. Jacir is a thrifty filmmaker; there’s nothing frilly in this movie. But she is also a sensitive and imaginative and resourceful one.

Wife of a Spy is something like linear narrative perfection, with every scene perfectly calibrated.

The movie intersperses observations and speculations on Welles’s life and work with long looks at his graphic pieces. These are fascinating.

A rather fun Nick Cave movie might not have been on your 2022 bingo card, but here we are.

There are moments in which this film, written and directed by Gabriel Abrantes and Daniel Schmidt, feels like an early Adam Sandler comedy remixed by Pier Paolo Pasolini.

Miike’s seemingly offhand inventiveness is evident in almost every shot and cut.

An excellent documentary directed by Richard Peete and Robert Yapkowitz.

Undine is ultimately more enigmatic than most of Petzold’s work. It is also, like its title character, eerily beautiful. While it could well serve as a high-end date movie, it’s also something more.

Hong’s formal confidence yields a movie that’s very simply constructed and utterly engrossing.

The mostly low-key mode of Nowhere Special is the right one. Norton is spectacular, but little Lamont delivers one of those uncanny performances that doesn’t seem like acting, and makes you feel for the kid almost as much as his onscreen parent does.

Mr. Kore-eda, whose most noteworthy family dramas include “Still Walking” (2009) and “Like Father, Like Son” (2014), works in a quiet cinematic register, and the slightest error in tone could upend the whole enterprise. Slow-paced, sad, rueful and sometimes warmly funny, After the Storm is one of his sturdiest, and most sensitive, constructions.

Despite the urgency of the situation the musicians face, when they’re not doing their work, the movie is quiet, observant, taking in the austere beauty of the land and the people.

Morrison, who is the producer, director and editor of this strangely intoxicating film, is a cinematic investigator of the first stripe.

The movie is a fascinating portrait that is if anything too brief.

Do’s tale is resolutely earthbound. He uses animation as an interrogation into the practice of fictional depiction derived from actual atrocities.

In its poetic, elliptical, concise way, this film makes a grand statement: The black mother is the mother of life itself. And the gaze directed at the black faces and bodies in “Black Mother” is not a male gaze, or a documentarian’s gaze. It is a gaze of love.

Isadora’s Children is made with such unusual delicacy that it may elude the grasp of audiences who demand things such as, well, plot. But its sensitivity is rare and valuable.