Ken Jaworowski

The resulting emotions are complex, and Bloch, here directing her first feature, can be excused for allowing a few of the scenes to stray. But by the end of the documentary, she and many of her subjects posit that it’s possible to learn from history and to change, and to trust each other a little more.

An engaging account of Peep’s life and the alt-music scene.

Like a spare short story, this little indie nurtures a few simple emotions, then hopes its audience will stick around to share in them. I’m glad I did.

The energy here is controlled, the mood reflective. These character-driven songs are populated by the washed-up and the run-down — an aging actor, a hitchhiker — and the shared themes are remembrance and regret.

Young viewers could certainly handle a few more harsh facts. Yet The Elephant Queen sets out, first and foremost, to use a narrative to build compassion. And here, a good story is as effective as a shout.

16 Shots remains valuable as a record of past events that hold sway over the present.

There’s much to absorb throughout “The Spy Behind Home Plate,” and sometimes details speed by too fast or digressions go on a bit long. Still, Kempner’s passion for her remarkable subject is always evident.

Riehl gears his documentary more toward avid fans than casual viewers, though he nods to the human side of story.

We spy on an artist who races around like a mad scientist, and who seems comically befuddled by technology. His passion is genuine, as is his sense of wonder.

The blues seep into every scene of Satan & Adam, a gritty yet lovely documentary. And even after the songs stop, the music’s bittersweet emotions linger.

Using newsreels, voice-overs and re-enactments, Roberta Grossman, the documentary’s director, paints a comprehensive portrait of the times and of the risks taken by Ringelblum and his group. The staged scenes are well acted, while readings from diaries and letters are heartbreaking.

You don’t wait for what comes next in People’s Republic of Desire as much as you watch and wonder why any of it is happening. That sensation arises often in this canny documentary about a baffling topic.

Several long, wordless stretches arise during the film, all of them thoughtful. Jaron Albertin, directing his first feature, cultivates tension in small moments and doesn’t force the drama.

Alexandria Bombach’s direction and editing are exceptional; she captures images that are both subtle and formidable. Her film is, first and foremost, a profile of Murad and her mission. Yet it’s also a comment on the media and on government aid.

Often uncomfortable and all the better for it, A Crooked Somebody doesn’t mind watching its characters squirm a little. That’s tough for them but good for us in this highly enjoyable thriller.

It’s an important story, made more intense by its tight focus.

This formidable film is sometimes zealous to a fault: The credits cite more than 200 sources of archival material, from The Washington Post to YouTube channels. It’s a lot to take in, as names and numbers zip by, yet missing some of its points may be healthy. To explore every moment is to risk overdosing on outrage.

Try as it might, sadness still can’t get the best of The Rest I Make Up, a lyrical and lovingly made documentary about the playwright María Irene Fornés, which recalls her career and follows her over several bittersweet years as Alzheimer’s steals her memories.

Though the film is heavier on summaries than specifics, its messages are troubling nonetheless.

The surgery scenes in The Bleeding Edge are squirm-in-your-seat uncomfortable. But it’s the interviews — watching patients recount agonies they’ve suffered from poorly researched and regulated medical devices — that are hardest to sit through.

It’s an amusing tale for young audiences, ending with the expected messages about friendship and courage. But there are delights for adults as well, particularly in the first half, with sendups of various comic book series (some aimed at DC’s own arch-nemesis, Marvel) and an extra-large supply of spoofs on other movies.

While it would have been easy for Mr. Sobel to unleash an angrier screed against the inequalities shown, some well-placed images tell us all we need to know about the haves and have-nots here.

In Darkness moves along so smartly that near the end, when the filmmakers entreat you to follow them just a bit more, you’ll likely oblige. And why not. They’ve already gotten you to invest quite a lot in this clever little thriller.

For those terrified of heights, Mountain will be a nonstop nightmare. Yet big scares are a small price for the awe-inspiring footage you’ll see. As for what you’ll hear, that takes a little explaining.

It’s easy to second-guess a scene or three in Anything. Yet this is a film that wagers you’ll put aside your doubts and open up to its gentle emotions. It’s a bit of a risk for a viewer. But I’d take it.

The filmmakers rarely delve into the spiritual aspects of the story, but that’s O.K. You don’t have to believe in Padma and Urgain’s religion to believe in them.

It’s a film that doggedly questions an exam that affects the futures of millions and feeds the fortunes of several big industries. Someone else — the schools — needs to supply some good answers.

Jon Kean, the director, chose the material wisely and doesn’t shy from severe images. He and his team also have good ears for anecdotes.