In her latest film, Showing Up, Kelly Reichardt, the director of 2019’s “First Cow” and virtuosa of slow cinema, turns her thoughtful attention to the act of creation itself, rendering both its transcendence and mundanity with equal curiosity.

As always with Östlund, his most profligate flights of fancy tack close enough to reality to ring queasily true.

It is an engrossing tale, full of betrayal and chicanery, and it casts the Egyptian political-military complex and the religious hierarchy as riddled with corruption.

Through a donkey’s large and expressive eyes, Eo shows us the beauty of the world and the cruelty of humanity.

Matilda...explodes with an exhilarating pleasure in filmic transformation, in harnessing the strength of one medium and regenerating it freshly in another.

Olivia Colman delivers an alternately delicate and ferocious performance as a cinema manager in Empire of Light, a tender, tear-soaked valentine to the ineffable joys of moviegoing.

Both a tough-love letter to the commodified IP it satirizes and a scathing takedown of mainstream comedy institutions, this defiantly personal low-budget marvel is also a genuinely affecting queer coming-of-age tale that packs a more poignant punch than most entries in the superpowered canon.

The movie’s a paean to hard work and hedonism, and if its pleasures are mostly surface — grass, clay, emotional — it’s still been too long since we’ve had an intelligent frolic like this.

You Resemble Me would be a vivid, beautifully acted reflection of dispossession and cultural dislocation if it stayed one thing. But, like its mercurial protagonist, it changes shape to become a deeply meaningful meditation on narrative itself, blending fact and fiction into a seamlessly poetic whole.

With its multiple intersecting narratives, writer-director Saim Sadiq’s debut feature takes an almost novelistic approach to its central theme: the repression of human individuality by a regimented traditional society.

You People sounds preachy, doesn’t it? Trust me, it’s not. What it really is is a master class on wedge issues and our shared humanity, delivered by comedians who know that laughter can be at once a bitter pill and the best medicine.

Twisters isn’t art and doesn’t want to be. Like “Twister,” it’ll never be held up as a classic but will instead be reliably watched for the next 28 years until someone gives us “Twister 3: Maximum Vorticity.”

Propelled by a funny, charismatic turn by Hewson (who infused such unpredictable energy in the terrific Apple TV Plus series “Bad Sisters”), Flora and Son is a feel-good movie that largely earns its sentimental uplift, one sick burn and soaring musical number at a time.

Smart, sensuous and stylish, Passages is all about pleasure: the giving of it, the getting of it, the art and pursuit of it, and what it all can cost.

Beyond Utopia contains background material on the history, culture and travails of North Korea that’s necessary but clunkily presented. The filmmakers also take an irksome turn toward the predictable during some of the travel sequences, adding conventional piano-and-strings movie music. But the rest of the movie is fresh and compelling.

Regan directs Scrapper with exceptional verve, interrupting the narrative with witty documentarylike asides whose framing evokes the poppy aesthetic of Wes Anderson.

Writer-director Emma Seligman’s sophomore feature, Bottoms, is a raunchy exploration of queer expression and online culture, bursting with humor.

A satisfyingly suspenseful apocalyptic thriller with almost enough visual effects to give "The Day After Tomorrow" and "Deep Impact" a run for their money.

Suffused with sunlit, sensual images, Chocolat feels rather than finds out, implies rather than blurts out. Like an odd collection of old-time photographs, it seems to hold enigmatic truths -- ones that can't be expressed but that you have an instinctive understanding for nonetheless.

Because McNamara wrote the script, Poor Things brims with his signature polished, sophisticated humor; because Lanthimos directed, it’s full of envelope-pushing zaniness and self-amusement, especially when it comes to Bella’s increasingly uninhibited sexual appetites.

Despite its sometimes overwrought mystery-tale gambits, however, Monster ultimately shifts from a saga of fateful misunderstanding to one of mutual comprehension.

Wise, funny and mysterious, it’s a one-of-a-kind charmer.

Filmed in Augusto and Pauli’s handsome brick-and-timber home in Chile, and punctuated by home movies and news footage of Augusto in his prime, The Eternal Memory mostly eschews voyeurism for its own maudlin sake.

This is not a happy-go-lucky story, but an old-school fairy tale meant to frighten, confuse and excite.

Visually, sonically and thematically, “Evil Does Not Exist” is a rich and subtle experience.

Top Gun: Maverick showed us there’s still an audience for movies that combine concise and creative action with emotionally resonant characters. Godzilla Minus One is another reminder — and quite possibly the better movie of the two.

Io Capitano takes a news story that’s mostly about numbers, and puts a human face on it.

How do you make a movie about this story? Do you spin it as a thriller, a true-crime drama, a horror film, a sick pop-culture joke? Actress Anna Kendrick, making her debut as a director, does something fascinating. She juggles all four and then adds a fifth layer undergirding the others: the unceasing dread that comes from being a woman who knows men like Rodney Alcala are out there.