Gregory Ellwood

We’re not sure Lucila is a fighter, but she’s a survivor. And over the course of the film, she learns many life lessons in a very short time. So when Diaz finally lets Lucila’s joy or pain cry out, it strikes you. And sticks with you.

Unlike other period tales of hidden queer love, including one that debuted at this same festival a year ago, Dhont isn’t interested in dripping his canvas in tragedy. He’s going to leave you with a glimmer of hope. Actually, more than a glimmer. A wry smile of anticipation that suggests all isn’t lost and love can find a way.

The Javis have a lot to say not only about Spanish history, but also about how emotions can endure and live on through something tangible. Whether it’s a painting, a recorded piece of music, or even a long-lost play, queer or not. They use the omnipresent theme of snow and the poetic spirits often present in Lorca’s work to tie these threads together. A complex puzzle where almost everything settles into place.

While Sachs’ vision is at the center of it all, this moment is also a stark reminder of Rami Malek’s considerable and we mean considerable talents. A gutsy and vulnerable version of the actor that has not graced anyone’s screens in at least a decade.

As Another Day winds down, the weight of throwing almost everything against the wall, hoping it will stick, is a bit too much for the movie to bear. Despite her best efforts and avoiding melodramatic (if not often realistic) rock bottom moments, Herry cannot avoid treading into television movie of the week territory. All while a fiercely committed Exarchopoulos does her best to overcome the shackles of the genre.

Thankfully, Drucker has enough charisma to hold your attention in even the most mundane moments.

This contemporary Japanese drama centers on the relationships between two vaguely thirtysomething women and two middle school-age boys. Two pairings that find a common connection in the most unexpected of circumstances. It’s the context of their attractions and the contradictions Fukada delicately presents that eventually beguile the viewer, even if his restrained aesthetic may test your patience getting there.

Reuniting with a majority of his “Ida” and “Cold War” collaborators, a 1:37 aspect ratio, and cinematographer Lukasz Zal’s masterful black and white compositions, Pawlikowski, whether intentional or not, has crafted a trilogy of films that chronicle the painful reverberations of the Second World War. With “Fatherland,” he’s also holding up a mirror. A reflection on today and, more likely, the near future. How will you treat those complicit in war crimes and humanitarian horrors? How will you grieve a world that is gone? Or will you grieve at all?

We’re not sure there will ever be another “Devil Wears Prada” installment, but be glad this one came along. At worst, to reinforce that shining memory of the original, at best to simply delight you for two hours. Hey, it might even be an improvement on that first flick.

If you want to relieve some of the MJ magic, Jafar, Fuqua, and those timeless bangers will quench a nostalgic thirst that will make you want to forget all that “negative stuff.” For a few moments anyway.

As Coppola teases Jacobs’ brilliance over the decades, you realize he may not have gotten his due as one of the most influential designers of the past 50 years. He may have been taken for granted both inside the insular fashion world and by the public at large. And, at worst, you just hope sometime soon, another filmmaker tackles an extended film or docu-series about him and really gives him his due.

Framed by fearless and charismatic turns by newcomers Bahraminejad and Mana and beautifully shot by cinematographer Ali Ehsani, “The Friend’s House” is a remarkable depiction of life in contemporary Iran that will haunt you for weeks.

While the kids are pretty fantastic overall, it’s the collaboration between Brill and Bonilla that takes Heller’s screenplay to another level.

At its heart, the film is a love story. A love story about two souls who need to trust each other if they want to survive.

Haru’s journey is more soulful and heartbreaking than you may want it to be. And that somehow makes the magical moments even more endearing.

Beyond some obvious pot shots and on-the-nose metaphors, it begins to feel more and more like a missed opportunity than smart satire.

Overall, Manners’ feature debut is perfectly polished. Duggan and Clear are distinct talents who scream future stars (or, at worst, working talents for years to come). But as insightful as it all is as a portrait of those bumpy teenage years for young women, it does all feel a bit too familiar. Maybe even a little too safe and predictable.

What’s fresh and compelling are Wilde and Hoffman. They are so stellar together that the film’s multiple endings work because they are front and center in them. In the end, almost despite Araki’s efforts, they make having “Sex” worth it

Carousel is another entry in a run of magnificent Jenny Slate performances.

While it’s not a complete home run – it is a wee bit too long and certainly not as funny overall as it should be – in the end, it delivers. Because, love it or hate it, this film will linger with you. You certainly won’t forget Aitchison’s stirring performance.

When Arco comes to its inevitable “E.T.” Inspired conclusion, the wondrous score by Arnaud Toulon may have you this close to shedding a tear. And you’ll wonder if this future is truly only an animated dream.

Both actors are superb, but the problem is that history isn’t really on their side. The incidents depicted in “Saipan” were dramatic in 2002, especially in the sports arena, and to a fixated Irish public who took sides. But two decades later, it all lands with a thud.

It’s one of those well-intentioned efforts that feels inherently too safe. There’s nothing wrong with that, but Roher teases that he knows he could reach higher.

It’s super funny, the performances are natural, and the whole endeavor is beyond charming. It’s a movie clearly meant to fit into the studio comedy mold, so it goes down easy.

Karia has Ahmed’s impassioned performance, one of his best, a committed and talented cast, often stunning visuals from director of photography Stuart Bentley, as well as his own imaginative staging to captivate the viewer.

It’s a marvel that Bennett crafted this screenplay almost at the age of 90. And his dialogue is often sharp and witty. The scenario is ripe for a captivating and moving drama. And yet, perhaps this was one project that needed a different director at the helm for the material to truly resonate.

This movie is Ferreira’s moment, and she rules.

California Schemin’ is an impressive calling card that suggests McAvoy shouldn’t make this project a one-time wonder.