Ken Jaworowski

Trainin’s film spends a good deal of its running time surveying the emotions that affect everyone here, including the Tsuk children. Yet there’s quite a bit left unexplored; after the start, the director rarely returns to examine Amit’s past or seek insights into Amit’s inner self.

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.

Considering all that’s been written and said over the last year, there’s not much new to learn from 11/8/16. But the film remains engaging for its stories, and is likely to be more instructive in the future, when passions have cooled. Judging by most people here, that won’t be soon.

The film, directed by Mikkel Norgaard (who’s borrowed a thing or three from David Fincher) and first released in Denmark in 2013, often focuses on research rather than on gunplay, yet somehow it still feels filled with action. That’s a testament to its lead actors.

Lynskey and Schloss are well matched as mother and daughter, and Griffiths builds a relationship between them as this far-from-innocent teenager navigates her world. That rough journey is worth watching even when this film falls short.

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

The Absent One finds Mr. Kaas as watchable as before, though a few well-intentioned attempts to lighten up his character — an orphaned cat is brought in, a speech about his motivations is given — are clumsily executed, and instead divert from his terse and magnetic personality.

Mr. Kraume captures the glances and motions that lay bare a character’s thoughts. He’s fond of the gruff and curmudgeonly Bauer, yet sentimentality is scarce while the double-crossings are surprising and the dry humor is welcome.

Call Her Ganda (“ganda” means “beautiful” in Tagalog) remains commendable for its focus on the case, and for its insistence that the crime against Ms. Laude not be forgotten.

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.

Pilgrimage raises a question or two about unexamined beliefs and religious zeal. Those questions, as well as all that blood, won’t appeal to everyone. But those who can stomach them will receive some dark rewards.

Certainly, the senselessness of bloodshed may be Mr. Power’s point. But with this setup, such a message is all but muted.

Even at 75 minutes, it can feel padded with footage whose connection to the central plot is tenuous. But at its best, The Wanted 18 follows a worthy tradition of highlighting absurdities that arise during conflict.

The Most Unknown works best as inspiration to delve deeper into these disciplines, and as a celebration of science. And when the film comes up short, it still functions like an intriguing experiment: It doesn’t have to be entirely successful for you to learn something.

Like a “Black Mirror” episode combined with a philosophy seminar, Realive has plenty of brains. Yet it has a heart, too, and that adds a surprising amount of emotion to this above-average science-fiction film.

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.

I’m only a little embarrassed at liking Heneral Luna, an audaciously manipulative movie that’s more involving than it should be. But really, when a film works this hard to rouse you, there’s no shame in just giving in.

For a movie that promises an “epic journey” to explore a family’s “long-buried suffering,” it’s strangely unsatisfying, and eventually wearisome, to find that this clan is deeply troubled perhaps only in the eyes of its filmmaker.

Making a Killing generates a disgust that can’t be shaken.

Some stronger filmmaking would be welcome, sure, but After Louie has an honesty that’s often just as valuable.

Bikini Moon is better in separate scenes than as a whole, where Manchevski’s overreaches and plot lapses become more glaring. In this film, the harshest truths — make that “truths” — are best served in small doses.

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.

Chasing Portraits is small and subtle, with some missed opportunities and occasionally inexpert filmmaking. But it’s not an insignificant effort, and Ms. Rynecki’s cause is admirable.

A tough and cleareyed look at how things are, rather than how we want them to be.

In his director’s statement, Mr. Perez, who also wrote the script, says he sought to fashion a story “that would confuse and bludgeon the audience.” My comrade and I will sip, silently nod and, with a strange kind of awe, agree: This filmmaker succeeded.

Mr. Fessenden’s ambition is admirable, and there’s more than a little raw skill on display. If this, his first feature, isn’t always worth recommending, his talents are certainly worth encouraging.

Mr. Hauck’s affection is apparent in every frame, yet outside of an occasionally clunky line or show-offy moment (O.K., sometimes it’s more occasional than just occasionally), he rarely allows it to alter his aim. That aim is to make a modern noir. That aim is true.

Rock in the Red Zone has its best moments when it explores the anxiety of Sderot’s residents and their endurance. It’s the strongest topic here, and the one you’re most sorry to see interrupted when the film inevitably switches over to something else.