Guy Lodge

Heavy on benevolent feeling and shy of outright human conflict, the film floats and sprawls and spirals like the creature to which it’s glowingly in thrall, but a bit of spine wouldn’t go amiss.

Blue Film is an unabashed provocation, but not a hollow one. Its dual protagonists — one a convicted pedophile, one a hyper-macho fetish camboy — don’t invite uncomplicated sympathy, so it’s just as well Tuttle is more interested in understanding them, exposing their respective damage in articulate detail, and letting the audience take things from there.

The film's chief pleasures are those of practiced professionals doing their job, and doing it well. None of the stars here is slacking, and their combined, easily resumed chemistry ensures that this sequel, for good long stretches, feels like old times — even if it's hard to imagine fans of its predecessor cherishing repeat viewings to quite the same extent.

The melodrama begins at such a high pitch in Desplechin’s latest, you might think it has nowhere to go but down, yet this earnestly inflamed tale of art, grief, betrayal and all-consuming amour on steroids keeps finding new, hysterical ways to surprise.

The filmmakers have lightened and brightened their source material to a kid-friendly degree — even the English countryside, as glisteningly shot by George Steel, has never looked less overcast. Yet there’s wisdom amid the silliness, as the story gently makes a case for the necessity of grief, mindfulness and mortal awareness, even in a life otherwise unburdened by adult human responsibility.

Kormákur’s film doesn’t trade in surprises, but offers more than enough heart-in-mouth action spectacle to compensate.

By turns tenderly observed, improbably dark and perkily sitcom-esque, it’s certainly erratic, and uncertainly much else.

Brashly violent, clattery and pleasingly untied to any direct predecessor, the result is more generic than its braggy auteur claims might promise, but there’s a lot here for gorehounds to feast on.

A mostly pretty innocuous affair — give or take some par-for-the-course ethnic stereotyping and at least one close-up involving a prosthetic glans — it’s neither good nor bad to any memorable degree, not as riotous as it could have been but not devoid of low-hanging laughs either.

A generally brittle, distant affair, Outcome largely saps Reeves of his genial, unaffected charisma, leaving him to play the carapace of a man who’s lost any real sense of who he is when not in character.

You, Me & Tuscany passes the time painlessly enough, but it’s never quite the escape it wants to be: It’s packaged so familiarly and so cautiously, we hardly believe its celebration of free, restlessly wandering impulse.

Happy New Year, Colin Burstead is an extended pilot, however, it’s a pleasingly cinematic one: unresolved and ragged with small open wounds, but self-contained in its fevered, filling-to-burst energy.

Pizza Movie is disposable, practically by design, but it may have happened upon a comic duo worth reteaming.

Marc by Sofia isn’t particularly penetrating or eye-opening on Jacobs as an artist, businessman or human being, but it is a pleasant and casually glamorous hang.

"The Immortal Man” serves as a handsome reminder of what always felt quite cinematic about the series — both in its beefy-but-pulpy storytelling and its robust, well-patinated production values.

Edler and editor Barbara Bascou maintain a sense of urgency in this two-hour film by foregrounding human convictions and frailties amid a surfeit of increasingly ugly rhetoric.

In its cool, propulsive procedural tracking of ward activity, Late Shift quite sufficiently makes its point regarding the monumental challenge and value of Floria’s work, and that of thousands like her.

At once armored, guarded and intensely vulnerable, Hüller’s performance is the human factor here — a volatile, unpredictable element, but one nonetheless attuned to the film’s meticulous shaping and mise-en-scène.

Rosebush Pruning makes its anti-capitalist points tartly enough in such moments, but the twistier things get, the sillier they get too — while any social commentary begins to feel like a thin cover for so much luridly gross, glossy spectacle. Still, there’s pleasure in the film’s excesses, mainly because Aïnouz and his team present them with such febrile, iridescent beauty.

Striking and often unpredictably moving — before an ungainly third act that frays into a profusion of endings — Søimer Guttormsen’s film places a lot of trust in its leads, erstwhile “Worst Person in the World” co-stars Renate Reinsve and Helene Bjørneby, to sell its wild swerves in mood and perspective. Both are up to the task.

It’s a script and a production tightly built around its performers, both superb individually, but most importantly, warmly attentive to each other on screen, and capable of sharing a silence.

If her filmmaking style is relatively straightforward, it’s a rich, raw sense of place that gives this Sundance entry — premiering in world dramatic competition — vitality and danger.

Like its eminently problematic anti-hero, The Musical says its piece with conviction to spare, and a welcome streak of cat-among-the-pigeons danger rarely found in contemporary American comedy.

This long-game project gives remarkable dimension and particularity to the kind of migrant story often only told in journalistic generalities — showing, year on year, how time heals some wounds, opens others, and creates plenty of its own.

Saccharine proves James’ gifts are better served by more independent means, even if it falls short of the emotional and dramatic heft that gave “Relic” equal genre and arthouse appeal.

If the film weren’t so arresting to look at, it could often be absorbed with eyes closed: If its larger message is elusive, Zi advocates for taking the world in at your own sensory pace.

Substantial ideas underpin all the flippant historical cosplay, as Bezinović — himself a Croatian — ponders D’Annunzio’s reputation on either side of the Italo-Croatian border, and in turn the long-term societal effects of failed despots being either romanticized or forgotten entirely.

The spirit of slow cinema is alive and languid in this stunningly mounted, politically rigorous work, which confronts any viewers hoping for a sweeping biographical romp with a frank post-colonial perspective, thoroughly and violently dismantling any romanticized legacy trailing the eponymous Portuguese navigator.

What keeps things diverting, and sometimes even interesting, is the genuine but necessarily tentative chemistry between its stars, one staging an all-out charm offensive and the other projecting a flintier allure.

Faith, “David” has in spades; soul, not so much.

Remake is extraordinarily clear-eyed for a work so broken-hearted: at once a home movie, an intimate diary and an expansive study of the filmmaker’s purpose, constantly disrupting its own conclusions with expressions of anger, amusement and still-unresolved confusion.

There’s a lot of acting here, little of it peak-form for the talent involved, though the ensemble lifts and colors Anders’ sometimes heavy-handed dialogue.

This is a striking statement of intent from its Slovenian writer-director — there’s an airy delicacy here that invites comparisons to early Céline Sciamma, but with its own raw, restless edge.

Belén might never regain the vivid rage and terror of its opening minutes, but Fonzi’s film ends up carrying viewers on its own wave of pride and upright conviction, ultimately delivering the hope its promises

This is impressively composed, searching high-art cinema, elevated by its meticulous, silkily textured formal construction

Wise and lyrical and strange, The Love That Remains thrives on its profound understanding of each family’s individual oddness, and the incremental confusion with which growing children regard their parents, as their elders grow smaller and more flawed by the day.

Art counts for a lot more than patriotism to Guthrie, and the happy surprise of Nicholas Hytner‘s film — despite its twee, veddy English trappings — is that it largely takes his side.

A slow-burning, increasingly incensed unraveling of a horrific murder case underpinned by colonialist privilege and prejudice, it too demands patience of its viewers — though it rewards them with steadily rising emotional impact and a long view of Latin American history that transcends any true-crime trappings.

Ultimately, this odd, wicked little amorality tale winds up siding with no one: The children are indeed the future, we’re left to conclude, but will they make it any better than the present?

Many things are simple in The Fence, an unusually sharp-cornered and rhetorical work from this typically elliptical and sensuous filmmaker, but the rage swelling beneath its still, mannered surface is not.

Clearly inspired by cases like that of Shamima Begum, the London teen who traveled in secret to Syria to become an ISIS bride, Nadia Fall‘s debut feature seems on the surface like a hot-button provocation, but it’s surprisingly humane and good-humored in its attempt to understand the individual lives behind a sensational headline issue.

Strange, enrapturing, simultaneously vast and minute, Enyedi’s latest spends a lot of time considering how we perceive our surrounding flora — but just as much on how it perceives us, which is where it starts to get a bit special, and even a bit sexy.

The richest, most enduring pleasures here are formal ones, beginning with the exacting still-life compositions and oily, vehement primary hues of Jenkins’ 16mm lensing, which can make a painterly subject of a maritime squall or a mustard-yellow wading boot.

It’s the most prominent and devoted leading showcase Maura has had in years, and one she carries with her invaluable brand of internally illuminated, can’t-be-taught charisma.

It bristles with testy economic politics, though they largely itch beneath the surface of an unassuming, intimately observed character portrait.

While among his warmest works, rich in pleasures of place and weather and human motion, it’s no empty travelogue, notwithstanding the sometimes glistening beauty of Rosi’s black-and-white cinematography.

If The Voice of Hind Rajab opens one hitherto blinkered eye, or ear, to the atrocities in Gaza, it will have done its job. But it’s a blunt and discomfiting instrument.

Sophy Romvari‘s graceful, singularly heartsore debut feature has a sharp understanding of how memories form and age: Often it’s the incidental, ambient details you recall as vividly as the more significant events at hand.

The Testament of Ann Lee is rich in agnostic questioning and bemused human interest, but at such radiant peaks, Fastvold makes believers of us all.

Charlie McDowell makes an equally respectful and respectable stab at the task, capturing some of the wistful, soft-sun warmth of Jansson’s writing — though not quite matching its unassuming poetic depths.

Bulk is a stunt that makes even earlier oddball Wheatley works like “A Field in England” look quite conventional by comparison — but there’s more energy and wit in this hybrid of conspiracy thriller, time-bending sci-fi and goofy genre parody than we’ve seen from the director in a while.

Though the film is mostly scripted fiction, its leads are two non-professional actors undergoing hair transplant surgery themselves, and the procedures and transformations depicted on screen are their own. That lends proceedings a bracing, candid authenticity, as well as unusually heightened human stakes — the anxieties shown at all stages of the process here are real.

The duly playful, freeform result occasionally skirts preciousness but is mostly rather affecting, bound by a palpable sense of female friendship and a perceptive interest in the dynamics thereof.

Solving one mystery unexpectedly quickly before diving into deeper, more searching uncertainties of human behavior and relationships, the third feature from Singaporean writer-director Yeo Siew Hua gradually reveals a broken heart beneath its sleek, chilly veneer.

Theirs is an outwardly simple life made complex with yearnings, resentments and impossible dreams: equally mythic and mundane, as presented in Miro Remo‘s wonderfully sui generis portrait Better Go Mad in the Wild.

It’s busier than it is funny, more frenetic than dynamic, but watchable enough.

Whether gazing in rapt widescreen across wondrous ancient structures, ruined recent cityscapes or the oceanic shift and shake of a stone quarry in action, this is blatantly dazzling, epic-scale filmmaking that nonetheless invites viewers to consider the implications of our awe.

Tortorici evidently remembers that disorienting sense of being released (or perhaps abandoned) into the world before you’ve quite found yourself; if you don’t, his funny, nervy, aptly unformed film will give you quivery flashbacks. It’s an auspicious arrival for both the filmmaker and his intense, mercurial young star Manfredi Marini, who holds the camera with the guilelessness of a newcomer and the ease of a natural.

A whirling, maximalist satire at once despairing and exuberant, subtle as a cannonball in its evisceration of the ruling classes and those who obey them, it’s both absurdist comedy and serious-as-cancer polemic: as grave as any film with an extended dance break to 2000s novelty hit “The Ketchup Song” can possibly be.

Simón’s sweetly sorrowful ode to lost family imagines what might have been, while acknowledging that not all memories can be passed down between generations — some die deliciously with us.

The push-pull kinetics keeping these increasingly raddled lovers together and apart eventually turn from manic to strenuous, not least because viewers are likely to be less invested than the film is in their final formation.

Sensitive and empathetic but a little timid in storytelling and style, The Little Sister rests considerably on its lead performance by first-time actor Nadia Melliti.

This 86-minute puzzle piece isn’t one of the director’s major works, but is distinguished by his trademark pleasures of texture and tone — and pushes his ongoing collaboration with star Paula Beer into ever more enigmatic territory.

Intelligent, drily seething and duly enraging in turn, “Case 137” keeps its mind strictly on the job.

The film makes no claims to represent an entire disenfranchised demographic, but there’s resonant human texture and political feeling in its close-up individual portrait.

No finer point of craft, performance or poetic nuance has been rushed or neglected in a film that ultimately sounds a warning against the dimming or blunting or de-specification of memory — not just for oneself, but for communities or lineages with more shared stories than they might think, but an inclination to clam up and carry on.

"Marcella” is most interesting, however, when it peels away the layers of achievement and adulation to show us the brisk, unpretentious woman who surprised nobody more than herself by becoming a culinary icon, and articulates something of the oddly intimate but entirely parasocial relationships we form with our most trusted cookery writers.

Nobody is exactly who they appear to be in “When Fall is Coming,” but Ozon’s nimble, perceptive little film takes that as a given: When winter and mortality are beckoning, the past only counts for so much.

Sex certainly comes up early and often in this playful, intricately nuanced character study, but in consistently surprising, stereotype-averse ways.

The film is most enlightening and affecting when it settles into a perceptive, finely detailed examination of everyday domesticity lived under the weight of rushing mortality.

Osit’s brilliant, subtly needling film leaves us unnerved and alert, but not certain of our convictions — an outcome, perhaps, that more true-crime programming should pursue.

Porcelain War thrives on contrast, much of it poignant.

Like its predecessor, this is an angry, viscerally illustrative film — but it’s a weary one too, occasionally narrating its first-hand view of military combat with the jaundiced sense of futility that comes with living through long-term conflict.

Broad in tone and narrow in scope, the film is in thrall to the idea of creating art outside mainstream financial and aesthetic models, though its structure and outlook are not unfamiliar.

Love’s commentary on modern relations may be more complex and chewy than just “live and let live,” but the film’s calm embrace of whatever works for the individual is refreshingly humane, rhetorically exciting and more than a little hot.

The poignancy of Super Happy Forever lies in its unseen tensions, its negative spaces, and the ellipsis of five years where its characters assumed they had all the time in the world to recreate this level of happiness.

The light and shade here is all in Peter Simonite’s splendid, inky-shadowed monochrome lensing; Huston’s visual sense outweighs his screenwriting.

Original and outlandish if only fitfully funny, the film rests considerably on the deadpan comic stylings of Oscar-nominated star (and producer) Maria Bakalova.

The result isn’t as formally or tonally characterful as the previous films, just as the script, more than before, feels bound to a well-worn template.

In Her Place — Chile’s submission for the Best International Feature Oscar this year — finally resembles a nifty short-film premise wrapped around an untapped subject for a full-scale documentary or biopic

The film’s gaze is arguably as mocking as it is dazzled — with the macho posturing and hero-worship of Roca Rey a tacit source of comedy — while Serra, living up to his reputation for challenging arthouse fare, doesn’t flinch in his presentation of animal abuse and suffering.

Kiyoshi Kurosawa, not unlike Hitchcock, is the kind of tireless genre craftsman who seems to approach every feature as a test of his own proficiency: Serpent’s Path, a brisk, harsh and, yes, clinically professional update of his own 1998 thriller of the same title, passes said test without a moment’s strain.

Saying something freshly substantive about female desire while honoring the film’s defining spirit of vapid, diaphanous horniness is a tricky, potentially unworkable brief; Audrey Diwan‘s inert, frequently frigid new film opts to do neither.

Tsangari’s vigorous, yeasty period piece occasionally loses the thread of its sprawling ensemble narrative, but transfixes as a whole-sackcloth immersion into another time and place.

Peter Cattaneo‘s amiable film adaptation matches the book’s feathery whimsy while reaching for a little more political import. Almost inevitably, it’s best when it’s about the bird.

Friedland’s film, as sharp as it is soft, conveys both the terror of losing the life you recognize, and the intermittent, fragmented joy of finding it again.

April is loath to explain itself, inviting us instead to watch, listen and feel our way through it — a work marked, like the benevolent but unreachable woman at its center, by immense empathy and isolated, inconsolable despair.

The film backs away from the overtly personal narration of its predecessor, in pursuit of a bigger picture.

Where the the writing is wan, the filmmaking compensates with emphatic braggadocio. Augustin Barbaroux’s cinematography is all humidly saturated tones and rolling, kinetic movement.

Eight Postcards From Utopia lingers in the mind as a sharp sociopolitical tangram that could be assembled any number of ways to differing academic and emotional effect: a vision of rebuilding or destruction, hope or nihilistic collapse, depending on what you’re willing to buy.

Awash with kooky gags and bolstered by the strange, soulful presence of leading man Nahuel Pérez Biscayart, it’s fun but flighty, liable to throw some viewers from the saddle.

[An] elegantly vicious domestic horror movie, which forensically unpicks the compacted resentments, betrayals and traumas underpinning a single weekend family gathering, with a touch as icy as the lighting is consistently, relentlessly warm.

There’s an opacity to this ambitious, conscientious film’s characterization on all fronts that hinders our emotional involvement, even as it holds our interest.

This is quick, nippy entertainment that raises plenty of sociopolitical talking points without digging too deep into any of them.

Page’s performance isn’t moving merely for whatever parallels it might hold to his life: Rather, it’s a reminder of what a deft and perceptive actor he can be, capable of both naked emotional candor and acidic wit — both assets to a script that sometimes errs on the side of caution.

Widow Clicquot certainly makes a virtue of its milieu and rolling landscape, richly shot throughout in dusky earth tones, and more substantively, of the rather romantic lore surrounding the widow in question.

There’s a elastic, enjoyable restlessness to all this behind-closed-court-doors bustle and bitchery, recalling less the sparse, close-up character interrogation of “Corsage” than the snippy gamesmanship of “The Favourite,” buoyed by the itchy friction between Hüller’s anxious, aspirational energy and Wolff’s cool, complacent hauteur.

As its central crisis deepens and darkens, Lazraq’s script keeps teasing a gear-shift into mordant farce to which it never quite commits, leaving both the characters and the drama a bit stymied. Still, this is a notably punchy debut, both visceral and confidently cavalier in its depiction of everyday underworld brutality, with a sharp, streetlit sense of place.