Gregory Ellwood

Like Brokeback Mountain a decade ago, Moonlight is a piece of art that will transform lives long after it leaves theaters.

In terms of filmmaking prowess, "remarkable" may not do Laszlo Nemes' holocaust drama "Son of Saul" justice.

Hands down one of the best films of the year, Sebastian Schipper has directed a one-shot film that is truly a captivating cinematic experience.

Outside of a few short moments in Ismail Merchant and James Ivory’s “Maurice,” and Ang Lee’s “Brokeback Mountain,” the love and intimacy between two male characters has never truly felt this real or emotionally heartbreaking in a theatrical context. It’s almost revolutionary. It’s cinematic art.

Like any creative endeavor a film is the sum of its parts. In the most elementary terms it needs a screenplay as a base, a cast to bring the script to life and a director to orchestrate the pieces into something of considerable impact. Excuse the hyperbole, but Tom McCarthy's Spotlight is an example of when all those pieces fit together almost perfectly.

Simply put, this is an expertly directed first feature. Clapin’s willingness to be patient as a scene unfolds, to let the hand experience the surreal images from its perspective, to let the quiet captivate the audience is beyond impressive.

Assayas has often shown great wit in his screenplays (most recently in “Clouds of Sils Maria”), but there is a rhythm to his writing here that is surprisingly good.

A bold dissection on aging and self-hatred Fargeat’s latest work is an utter visual marvel and features superb performances from its lead actresses; Demi Moore and Margaret Qualley.

Youth has some significant points on frustration of fame, ageism and our natural inclination to lose perspective, but it’s primarily about finding peace and happiness in your life. That may sound painfully obvious. It may even sound cliché. But somehow Sorrentino is able to fashion the film's diverse elements into an emotional narrative that makes it all feel fresh and new. And that’s truly worth celebrating.

Cassandro isn’t here to cover every moment of Armendáriz’s life. And there are storylines, especially with his father, that neither Williams or his co-screenwriter, David Teague, can bring to a satisfying conclusion. But as a portrait of a man finding himself in his profession? Of celebrating his true self? It’s extraordinary.

What immediately comes to the forefront is that McDonagh has choreographed an almost impossible feat of a brutally dark comedy that, thanks to both Rockwell and McDormand, elicits an emotional response you simply don’t see coming.

Many moviegoers may think they already know a good deal about Hawking’s achievements, but they would do themselves a disservice to miss out on Redmayne’s almost perfect performance.

Nine Days is the sort of original cinematic art that, these days, is few and far between.

If not for Sareum’s charismatic performance the film might fold like a house of cards.

Baumbach has cast a wonderfully talented group of up-and-coming actors around Gerwig and Kirke, but it's the screenplay and the leads' incredible chemistry that makes it all so entertaining. There are so many one-liners that you miss because the previous line of dialogue is just as smart and laugh-inducing.

Fukunaga not only directed the film but also co-wrote the screenplay and served as director of photography. His efforts have resulted in a brazenly confident piece of cinematic art where every image immerses you deeper and deeper into Agu’s horror.

While Eisenberg is excellent on screen, especially during a dinner scene when he unloads his concerns over David to his fellow tourists, it’s Culkin who, rightfully, steals the film.

This is a swinging-for-the-fences with the bases-loaded type of movie. An irreverent monster of a film that leaves you buzzing. We’re talking “cinema,” baby.

Lurker is the sort of film that lingers with you for days.

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.

Sauvage captures the multitude of emotion or lack of, that come with Leo’s tricks. There’s jealousy, pain, excitement, cruelty and even monotonous apathy where you’d least expect it.

What’s most remarkable about His Three Daughters aren’t the performances. As you’d suspect, Coon, Moss, and Lyonne complement each other perfectly (although we should note this is without question the best work of Lyonne’s career). It’s the fact that Jacobs and cinematographer Sam Levy have crafted a drama that takes place almost entirely in one enclosed space and somehow avoided the dreaded claustrophobic aesthetic that makes one feel like they are watching a filmed play.

Zhao has fashioned a masterwork that, once again, straddles the line between narrative and cinematic art in a manner few of her contemporaries can match.

To say it’s a stellar feat of cinema is something of an understatement.

Throughout this journey across North Africa, Laxe peppers the film with moments that touch on pertinent themes such as the power of a chosen family, Western society’s naive self confidence when confronting the environment, and perhaps most poignantly, the fallacy that because we have so little control, we can dance away as the world crumbles around us.

This is a film you can dissect for hours. A movie full of details and creative choices that will spur debate and passion. Another work of Glazer’s full of images that may haunt you for weeks. And well worth almost the decade it took to get here.

Dhont, who displayed an impressive artistic vision with his feature and slightly problematic debut “Girl,” has pulled off something miraculous with his sophomore effort.

As with much of his previous work, Trier is masterful with delicate, humanist moments.