Monica Castillo

In addition to Ozon’s impressive work as writer and director, much of the credit for “When Fall is Coming” belongs to the ensemble cast, each of whom brings a unique element to the mix that makes the story so engrossing.

The Substance works as well as it does because of Moore’s unbridled performance as a woman struggling with self-hatred, society’s treatment of her, and a newfound dependency on a miracle drug.

The debate around sexual harassment is one many are having around the world, far beyond hashtags and press releases. Working Woman is a part of that global and cultural conversation, yet it never loses that personal focus of one woman’s experience.

Chomko’s grandmother was diagnosed with Alzheimer’s disease, and she takes great effort to recreate a sense of that unique kind of pain, where the person’s memories are lost but they are standing in front of you.

Coupled with the talents of cinematographer Ludovica Isidori and music by Rob Rusli, Ford’s Test Pattern is an engrossing human drama, one that examines the intersections and inequalities between race, gender, and healthcare in a poignant and powerful way.

Vanicek’s first feature is an impressive debut, driven by an energetic fright, turning a worn-down apartment complex into a catacomb of spider webs, moving shadows and blocked escapes.

As with Morgan Neville's documentary "Won't You Be My Neighbor?", the tears may flow freely due to nostalgia or from some subjects hitting too close to home, but A Beautiful Day in the Neighborhood fits as a companion piece. Where the documentary offers a more complex view of the man in the red sweater and tennis shoes, Heller’s movie is more about the cultural impression Rogers left behind.

This family isn’t picture perfect, but the way De Filippis tells their story is pretty flawless.

Slow, steady, and with an exacting eye for detail, Lila Avilés’ The Chambermaid is a painfully astute observational drama about a young woman working in one of Mexico City’s posh hotels.

Written and directed by Jackson, All Dirt Roads Taste of Salt is a poetic memoir of Mack’s life. Memories will appear one after another from her youngest days to her gray-haired years, non-sequentially, creating a winding road that bobs and weaves through mundane and life-defining moments alike.

With Love Antosha, there’s now a coda to Yelchin’s story beyond somber headlines and obits. There’s an impression of who he once was to those who loved him and a sense of how we might remember him having heard their stories.

When all the puzzle-like pieces come together, the movie’s characters, story, score and emotions soar. The pace of that progress may feel slow, but things never get too quiet. It’s a movie with a racing pulse, and you can feel its heart in every frame.

Ms. Purple is a gorgeous film about one of the worst moments of many people’s lives, but isn’t the act of living just learning how to survive these irreplaceable losses?

King Richard may be a fairly straightforward biopic, but it’s an enjoyable one, giving viewers the chance to enjoy a heartwarming if not uncomplicated story, talk about parenting and the stresses the many characters faced on their way to the history books

The tightly wound human drama increases to a boiling point that simmers all the way to the credits.

Through his efforts, McKay captures a genuine sense of the bittersweet reality of the American dream and the people who give up their only weekly day of rest just to keep it alive.

Difret is painful but profound, skirting the pitfalls of the inspirational biopic for something more grounded and remarkable. Its authenticity extends beyond its central characters, conveying a very real sense of what is at stake.

Days after watching the movie, I still have some reservations about how abuse is shown in the film, but it’s hauntingly effective. I haven’t been able to shake those images since.

Mickey and the Bear is an impressive feature debut from Attanasio, one that shows a lot of promise in the way her movie explores characters and uncomfortable stories. When coupled with Morrone’s deft performance, Attanasio gives her lead character so much life and vibrancy.

There are gentle surprises in the trip’s unexpected turns and setbacks, and thankfully, Simon-Kennedy knows where she’s going.

Overall, Franz and Fiala perhaps play things a little too safe with The Lodge, not straying too far from a formula they know has already worked before. “The Lodge” is more disturbing than scary, with its eerie ambiance and chilling plot handling most of the scares.

The movie practically sparkles in scenes at Melanoff’s candy factor, where the rainbow motif is woven throughout the space and even onto Melanoff’s commander jacket, which is topped off with candy buttons and cupcakes on his shoulders.

The film is not just a glossy period piece; it’s an emotional story about human resilience, one that’s sadly still too familiar almost a century later.

Although the relationship at the heart of We Broke Up may be messy and complicated, Rosenberg ties all of the story’s elements together into a neat, bittersweet package.

Condon’s “Kiss of the Spider Woman” is a reminder of what a great on-screen musical looks and feels like.

Ozon has a ball poking fun at a corrupt justice system that shuffles one criminal to the next crime-out-of-convenience and imagines how public opinion would fashion Madeleine into a feminist symbol.

Despite its hard message, Dogman comes across as sympathetic for any gentle soul trying to make a deal with the devil. May you heed this movie’s warning and not end up like poor Marcello.

As far as coming-of-age musicals go, Everybody’s Talking About Jamie sends a charming, feel-good message of self-acceptance.