Lovia Gyarkye

Aesthetic flourishes abound, which make it an entertaining viewing experience, but one does wish that the narrative was a touch more complex. Lelio embeds some compelling meta-textual moments — ones that mostly address that fact that he’s a man tackling this subject — but the actual story of Julia can feel secondary to the melodic pageantry.

There’s a radical bent to the Esiris’ interpretations of and deviations from Mrs. Dalloway.

Nobu is a straightforward and admiring portrait of its subject.

The interconnected structure lays the ground for a gripping mystery attentive viewers will be eager to solve.

The film wears its sincerity proudly and, despite its imperfections, has a sense of its purpose. Dorfman’s direction relies on intimate close-ups and only really differentiates itself from the traditional mechanics of a smaller-screen endeavor when it chronicles Ben’s emotional life.

Charlie Polinger opens his thrilling and uneasy directorial debut feature The Plague with an arresting sequence that quickly establishes the haunting undertones of this adolescent psychological thriller.

The film aims to inspire action and stave off despair with a reminder that the most powerful tool younger generations can wield is their imagination.

It’s an introspective portrait of how grief forces Maron, who spent a career metabolizing his feelings into cantankerous jokes, to finally confront his emotions.

With many strong elements, it’s frustrating when The Astronaut fumbles in the final stretch.

Guided by the beauty of the landscape and the nostalgia of childhood, Okuyama constructs a quiet narrative buoyed by an understated charm.