It’s difficult to fully contextualize how incredible Torres is here; she matches the film’s silent grief by keenly deploying her character’s internal angst into her slender frame. Through her formidable presence, the deliberate “I’m Still Here,” a film that locates further meaning in the face of Brazil’s present Far-Right wave, remains in the heart long after the picture fades.

Watchers of the Sky, an intricate and immensely powerful documentary, directed by Edet Belzberg, is both the story of Raphael Lemkin as well as a harrowing examination of genocide, past, recent, and ongoing.

We’re left with the question of what a person can hang on to when everything about their identity and values leaves them.

It is voluptuously beautiful, frankly sexual, occasionally perverse and horrifically violent.

It's as much an anthropological pseudo-documentary as it is a drama, one that sometimes evokes the Terrence Malick philosophy of "The Thin Red Line," which began by insisting that humans are a part of nature and that when humans war with other humans, it is nature warring with itself.

If nothing else, Black Is King is a jaw-dropping visual achievement.

Against the Tide, a documentary directed by Sarvnik Kaur, depicts environmental disaster with an intimate lens.

The Work asserts that the collapse of emotional barriers feels like an exorcism, and that life’s true labor involves facing and contending with the blues inside us all. Prison blues doesn’t only belong to actual prisoners.

To the credit of the filmmakers, 76 Days has been made in such a skillful and gripping manner that even those suffering from COVID news fatigue will find themselves caught up in it.

Higuchi and Anno not only deliver the genre movie goods but also deftly preserve their title character’s sugary purity. Rather than gigantify what was always juvenile material, Shin Ultraman allows the iconic character to retain his original shape and proportions. You and your dad are gonna love the new Ultraman movie.

Craig’s spin on Blume’s classic is just as exhilarating as her debut film “The Edge of Seventeen.” Her deep respect for the foibles of girldom and her emotionally intelligent exploration of prickly family dynamics make her a perfect match for the material, and elevates Are You There God? It’s Me, Margaret far above most modern films that attempt to tackle similar material.

Thankfully, despite its creators’ general fussiness, The Truffle Hunters is good enough, if only because guys like Carlo and Angelo are more charming than they are eccentric.

In Judas and the Black Messiah, Daniel Kaluuya gives an electrifying performance that raises the hairs on the back of your neck.

Whatever “Flipside” ultimately “means,” it’s ninety minutes well, and often amusingly and movingly, spent.

I do know this for sure — I can’t wait to see this film again. It’s so layered and ambitious, the product of a confident filmmaker working with collaborators completely in tune with his vision. Every piece fits. Every choice is carefully considered.

After the Storm is one of our best filmmaker’s best films.

The President’s Cake is notable for its unvarnished, affecting performances; its digitally shot yet eerily film-like cinematography, which packs an amazing amount of crisply focused information into wide frames with rounded edges. But most of all, for the way it captures the strange disjunction between the monotony of daily life for children in a war zone and the anxiety between adults who are aware that everything could fall apart at any moment.

As gorgeous and impenetrable as a dream.

The movie is more stunning than ever, a daring blend of history and personal storytelling with one of the most striking performances of its era from Leslie Cheung, a performer who left us way too soon.

Even if Coogler doesn’t know where to end his movie, it’s tempting to be swept up in his expansive vision, if only because his intent is so firm.

By anonymizing both the callers and the places featured in the documentary, “Intercepted” becomes a sobering portrait of the many millions of lives interrupted by this war.

This documentary is as welcoming to intense fashionistas as it is to gauche fools like me.

Bolstered by expert empathy, understated direction, and evocative performances, Earth Mama highlights resilience while whispers of social misogynoir are incorporated without abandon and confronted head-on by the film’s women.

A stellar high school comedy with an A+ cast, a brilliant script loaded with witty dialogue, eye-catching cinematography, swift editing, and a danceable soundtrack. Most importantly, it’s incredibly fun to watch again and again.

Writing with Fire is a powerful piece of work, although it moves at a mostly slow and steady pace.

Red, White and Blue got under my skin in ways I was not expecting. McQueen uses the police procedural format to interrogate what it’s like to be the only Black person in a hostile and racist job environment.

As engrossing as it’s alarming, the documentary flows with a stream of consciousness about the illusion of the “Chinese Dream.”

Reality is a brutal film, with a short run-time and a story arc so strong it obliterates the memory of self-important complex films, weighted down with a "message," straining for relevance. Satter's film doesn't need to push. Reality wears its relevance on its fluorescent-lit short sleeves.