Manuel Betancourt

As a revenge spy thriller of sorts (the kind that seems tailor-made for a TV miniseries these days), “Rogue Agent” is an engaging affair. Much of it is due to Arterton, whose steely performance firmly anchors the film even during its most improbable twists and turns — especially as it careens toward its inevitable conclusion and its all too pat final image.

Telling a straightforward tale about this queer-skewing business, “All Man” opens up inquiries on how masculinity has been packaged for the American consumer, straight and gay alike.

Late-night stakeouts, dinner dates gone awry and greenscreen Cristiano blunders often make My Fake Boyfriend feel like a collection of skits and sketches strung together. Some are very funny and they are led by two very capable performers.

Memory House is, above all, a fable about identities lost and cultural artifacts in need of recovery that doubles as a thrilling and foreboding ride designed to rattle audiences at home and abroad with equal verve.

This is a gripping and heartbreaking film that goes out with a whimper that hits harder than any kind of bang it could’ve mustered.

With a breezy 70 minute runtime, Fauna is a delightful puzzle of a film. Even as it leans heavily into its metafictional conceits, laying bare just how much of its second half, for instance, is pure fantasy (or is it?), Pereda’s actors find ways of unearthing emotionally wrenching moments.

Painstakingly conceived and teeming with raw, unbridled energy, Eyimofe offers a sumptuous, keen-eyed look at modern Lagosian life.

Its final beat, like the entirety of its fabulous, tragic final act, is as masterful as it is heartbreaking. As a whole, though, it remains too stilted, like a painstakingly staged tableau vivant of late-19th-century Mexico and the patriarchal power structures that undergirded it.