An exception to the rule that films limited mainly to one location can feel stagey and stifling.

Director Mona Fastvold combines two “unforgiving” genres—the biopic and the musical—and focuses on a relatively unknown historical figure: the founder of the Shaker movement.

The biopic follows its titular heroine through the turbulent late 1930s in Tel Aviv.

Catherine Deneuve is a delight throughout. Her deadpan delivery hovers between bemusement and elegance.

In Jessica Palud’s bumpy but effective biopic of Maria Schneider, the Last Tango in Paris shoot casts a shadow over everything that follows in Schneider’s life.

The biopic of wrestler Mildred Burke is at its best when it embraces the pageantry and over-the-top performances of the squared circle.

Perhaps director Walter Salles’s best film since Central Station.

Director James Mangold focuses less on biographical details and more on Bob Dylan’s music, which might single-handedly bring the folk movement back into vogue.

How do you solve a problem like Maria—portraying soprano Maria Callas, that is?