Dave White

Boutefou’s performance in this delicate but wild environment is coiled and tense, but one that balances interior pain with a graceful delivery. She embodies rage, bitter amusement, longing and an emotional knowledge that comes only from decades spent with one very difficult person.

Ferragamo’s story is a complex intersection, touching on early-20th-century immigration, youthful ambition, the dawn of Hollywood, passionate artistic hunger, tenacity, foot fascination and wild innovation.

In Bruckner’s directorial hands and David Marks’ editing, more information is delivered than ever before, but no plot point is over-explained. Mysteries are allowed their ambiguity.

It is by turns scatological, hilarious, art-referential and, ultimately, moving.

The result is one of Hong’s most emotionally generous films. In a career full of small triumphs, it’s a beautiful gesture of family love, of non-specific spiritual awakening, and self-possession meant to create outward waves of goodness.

Panahi and cinematographer Amin Jafari take familiar tropes of contemporary Iranian cinema and rework them with refreshing twists.

[A] brash, bruising comedy.

A thrilling, sprawling sensory overload that simultaneously enchants and overwhelms.

Content with dipping its toe into a social issue without risking much, what’s most revealing in The Jesus Music is what’s left out.

Formally, Tsai’s approach is as spare as possible while still maintaining a loose sense of narrative.