Three films recall themes familiar from American movies: a creepy nanny, a teenage girl’s rebellion, and a sort of Sleepless in Seattle à la française.
Poland’s 2020 Academy Award nominee for best international film poses complex questions within its relatively simple story of a young ex-con impersonating a priest.
Ladj Ly’s movie graphically examines how French society, through the actions of one police squad, reaps what it sows.
At the center of Nadav Lapid’s hilarious, disjointed, and unpredictable dramedy lies the age-old theme of identity and what defines it.
Featuring a liar whose gaslighting, imperious denials, and finger-pointing make her the equal of any man trying to avoid responsibility for fouling the family nest.
Methodically and steadily, writer-director François Ozon builds an efficient and damning case.
The question about watching La Flor, one of the more exceptional films in recent South American cinema, shouldn’t be if but when.
Well-observed moments and strong performances give the movie unexpected staying power.
Rojo intentionally mimics the look and grammar of cinema from the 1970s and looks amazingly retro, but it’s much more than a movie that emulates a certain way of filmmaking and storytelling.