Jonathan Christian

Freeland endures as an introspective, succinct mood piece enriched by Fairchild’s phenomenal lead performance and the artistic vision of two compassionate filmmakers in tune with the essence of their craft.

At its core, Pray Away is a chronicle of pain. It is a candid, unceremonious study of people who have struggled for years with discovering who they are and who God is; and, perhaps most importantly, it is an exploration in the lasting damage caused by misinterpreting Biblical teachings and misunderstanding the Gospel’s message.

Stephens and Velez should feel reassured that their three-year venture was not in vain. With “The American Sector,” the two artists crafted a gem—a film that, while tranquil in spirit, assembles a composite sketch of the 21st-century American landscape that shouts with the energy of a thousand voices.

Its message is timeless. Its performances? Flawless. And if The Killing of Two Lovers can be described as anything more than a must-see film, it can best be defined as a cautionary tale dedicated to the fragility of the family structure in the United States, a showcase of a radically talented filmmaker and a dedication to the painful reality of love.

Despite its dower subject matter, Apples arrives bearing gifts of uplifting encouragement and pensive meditations on the nature of the human experience. Equipped with deadpan humor and numbing silence, Nikou’s philosophically minded dramedy strives to create conversation as much as it actively attempts to entertain.

The Mole Agent is a perfect film. From a technical and emotional viewpoint equally, The Mole Agent possesses no flaws. Yes, as with every documentary, manipulation is openly displayed and validity can always be questioned, but The Mole Agent dissuades any inkling of pessimism or negativity through its unabashed sincerity.

In an era marked by omnipresent terror and universal doom, 7500 sparks fear and soothes anxiety in the same breath. Although the film utilizes violence as its foundation, 7500 promotes the idea that heroes exist everywhere, proving that, even amid turbulent opposition, survival, and endurance are sometimes the bravest acts people can ever accomplish.

You Don’t Nomi cuts through the excessive nudity and stylized hyper sex of “Showgirls” to reveal the heart hidden behind the grime, relishing in the entrancing panache that has fascinated and charmed viewers for years.

Imperfections cannot steal away the ambitious underpinnings of Hersh’s intentions for “The Surrogate,” a down-to-earth analysis of the ever-precarious, self-serving human condition; an examination that speaks volumes despite its reserved demeanor.

Aligning itself with the director’s prior works, Costa’s cinematic dissertation on the impermanence of life, love as a sacrificial commitment and the existence of God requires a refined attention span and a liberal tolerance for a slow-burning narrative flow, but viewers in search of a visually masterful and emotionally desolate arthouse feature could find Vitalina Varela to be one of the most thought-provoking international features to debut in quite some time.

Authentically pensive and distressingly honest, Colewell remains true to its convictions by prominently exhibiting the uncomfortable truths of growing old. Remarkably, the film’s subject matter is treated with an impressively respectful restraint, opting to stay grounded and not venture down melodramatic sideroads.

Counterbalancing a tongue-in-cheek treatise condemning the shallow obliviousness of the upper-middle class with niche comedic thrills, Greener Grass earns its reputation as a delightfully nauseating charmer that should be regarded as a salvia-covered tour de force for years to come.

Tiny is a sobering contemplation on flaws, forgiveness, and redemption that deserves to be recognized.

Maiden simultaneously functions as a timeless ode to passion and a reflective account of a fascinating highpoint in the history of women’s involvement in the sports industry.

Thankfully, ‘Recorder’ salvages its lack of narrative control with enough emotional weight to earn its memorability.

Phantom Cowboys is a stylish treat for viewers who enjoy meditative cinema. As an enrapturing stroll down the dusty backroad pathways and flame-covered grassland that comprise a country, the documentary manages to offer an invigorating perspective on the United States by exploring the day-to-day lives of the unseen.

As a simultaneous introduction and farewell, An Elephant Sitting Still might be one of the best movies that you will only watch once, but won’t ever completely leave your mind.

"Well Groomed" is not revolutionary cinema by any means, but it certainly is enjoyable; and sometimes, an adorable documentary about competitive creative dog grooming is exactly what you need.

The primary factor permitting Styx to warrant any sort of recognition is inarguably Susanne Wolff’s dynamically subtle performance.