Selome Hailu

The film gets heavy-handed about its premise sometimes, exaggerating the online-ness of it all with artificial glitches and voice modulations, but beyond that, Language Lessons is gorgeously, uncomfortably real.

Throughout the film, Questlove deconstructs the sterility of a typical talking heads documentary. The inclusion of interviews isn’t to incorporate some sense of detached expertise. When faces do remain in focus, it’s to highlight the width of their grins, the tears in their eyes, their open mouths while watching the footage, their shock that someone else finally remembers.

Presumably the first ever feature film adapted from a Twitter thread, Zola makes use of the graphics and sound effects of the internet, as has been common in film for the past several years. But there’s more depth to it here given the context.

The college archetypes get a bit on-the-nose, and some lingering underwater scenes feel jammed in to match other coming-of-agers. But ultimately, the imperfections just feel cute.

Even when the direction is heavy-handed, the Sanfords are just too compelling to ignore.

Ford’s commitment to implying trauma instead of visualizing it is more than just an impressive formal constraint. Test Pattern proves the fault of more uncreative depictions of racial and gendered violence that exploit bare bodies and blood for shock value rather than depth and specificity.

As Hampton, Kaluuya gives the best performance of his career. He embodies what it meant to be a Panther, the simultaneous sacrifice and gratitude of carrying such militant devotion to liberation everywhere from the podium to the bedroom.

Two of Us traverses familiar beats about caring for elderly and disabled loved ones, romance impeded by unclear boundaries, and coming out to family members who may reject you. But by encasing those narratives in such genuine characters and shooting them with compassion and subtlety, Filippo Meneghetti’s feature debut imbues a painful story with necessary warmth.

All in all, Malcolm & Marie is less a coherent narrative than it is a beautified slideshow of ideas. These ideas are often compelling – but still, just ideas.

Rică, like Acasă, My Home itself, meditates on how we define a life worth choosing.

While it’s great fun to watch regular people learn to express themselves after meeting their heroes, it’s disheartening to notice how much fame sits at the center of it all. The “fantasy” Rock Camp returns to isn’t just making music — it’s wealth and name recognition.

The warmth of the film’s gaze has managed to take the political and make it all personal. It’s hard not to feel just as affected by the way these men have moved each other.

Sister of the Groom is an almost-delightful rom-com, but it never commits to the bit.