What It’s About
In 1977, with Brazil under a brutal military dictatorship, political refugee Armando (Moura) arrives in the town of Recife, moving into a safe house operated by Dona Sebastiana (Maria). Still mourning the untimely death of his wife (Carvalho) and looking for an escape route, he takes an anonymous job in an information center. He also reconnects with his former father-in-law, cinema operator Alexandre (Francisco), who’s raising Armando’s young son Fernando (Nunes). Will Armando/Marcelo ever make it out of Brazil?
Why We Love It
Filho’s offbeat, at times surreal thriller has characters and atmosphere to burn, and its 160 minute runtime speeds by. The Oscar-nominated Moura is sensational as a man vaguely aware that certain government-connected interests may want him dead. Trying to blend in, he’s also watchful, and an underlying dread permeates the film. Evocative set and costume design bring the period alive, and the whole cast delivers compelling performances, with Maria a standout as Dona Sebastiana. Udo Kier is also memorable in his final role. Don’t keep this “Agent” a secret.
What It’s About
Born into a Belgian family living in Japan in the 1960s, Amelie (Charpentier) starts life unresponsive until a series of events awakens her to the world. Suddenly precocious, she drinks in her surroundings with devoted nanny Nishio-san (Grosbois). She experiences life’s darker side in cold landlady Kashima-san (Fujimori), whose grim war experience makes her dislike Westerners. Amelie also learns about impermanence when she experiences a death in the family, and confronts the prospect of one day leaving Japan.
Why We Love It
Rendered in vibrant, pastel-hued 2D animation, “Little Amelie” owes more to the meticulous, hand-drawn work of Hayao Miyazaki than to Pixar. This sensitive, deeply felt story of one small child’s voyage of discovery will transport viewers of all ages, weaving in serious elements like war and death with a light, deft touch. Oscar-nominated for Best Animated Feature, “Amelie” combines stunning visual beauty with a warm humanity that will leave you smiling.
What It’s About
For over six decades, via The New York Times and other outlets, intrepid investigative reporter Seymour Hersh worked tirelessly to expose atrocities that otherwise might have stayed buried, from the My Lai Massacre in Vietnam through the treatment of prisoners at the notorious Abu Ghraib prison in Iraq. At 88, Hersh remains a prickly presence, more accustomed to chasing stories than being the subject of one. But his passion and professionalism shine through, recalling a prouder, nobler moment in the history of journalism.
Why We Love It
This illuminating doc from Netflix blends archival footage with penetrating interviews to revisit what was a golden age of investigative reporting. Hersh makes for a fascinating subject, even when showing his discomfort at being in the spotlight. We know he’s more accustomed to operating in the shadowy world of state secrets and confidential informants. Whatever your reaction to Hersh himself, his contribution to American journalism is undeniable. And it’s both sad and disturbing to realize he represents a dying breed. Don’t let this BAFTA award nominee escape your attention.
What It’s About
In 1959, film critic Jean-Luc Godard (Marbeck) follows Cahiers du Cinema comrades Claude Chabrol (Besson) and Francois Truffaut (Rouyard) and directs his first feature film. All three men want to break through existing film conventions and redefine cinema for a new generation. Casting the key roles of his film, which concerns a Bogart-loving gangster who falls for an American ex-pat journalist, he chooses Jean-Paul Belmondo (Dullin) and Jean Seberg (Deutch). Guided by cinematographer Raoul Coutard (Penchinat), Godard hits the streets of Paris, and even without a formal script, proceeds to make magic.
Why We Love It
With considerable humor and affection, director Linklater recreates the then-revolutionary process of making what became the groundbreaking “Breathless”. Godard is determined to create spontaneously, without the straitjacket of a script, and asks his team to follow his lead. Among a superb cast, Marbeck is a dead ringer for Godard, and Deutch is especially winning as the often bewildered Seberg, who’s accustomed to the more rigid, time-tested ways of Hollywood. If you love movies about movies, dive into “Nouvelle Vague”.
What It’s About
In the early twentieth century Pacific Northwest, quiet, conscientious Robert Grainier (Edgerton) labors in the booming logging industry. This man with no roots or family finds salvation with new wife Gladys (Jones), who gives him a daughter. The only thing marring their happiness is Robert’s ongoing need to travel distances for work, often for long stretches. Tragedy strikes when he’s away.
Why We Love It
Fresh off their Oscar-nominated “Sing Sing”, writer/director Bentley and writing partner Greg Kwedar return with this atmospheric tale, based on Denis Johnson’s novella. Edgerton’s Grainger is a decent, solitary man who discovers what happiness is, only to lose it and have to go on. “Train Dreams” proves (once again) what a fabulous actor Edgerton is; his face conveys multitudes, and we care for this private, taciturn man. Jones is also affecting as his young bride. Nominated for four Oscars, including Best Picture, Adapted Screenplay and Cinematography, the moody, scenic “Train Dreams” is the sort of American movie we need more of.
What It’s About
As the war in Gaza erupts, filmmaker Farsi wants to capture events there but gets blocked at every turn. (She knows how it feels to be oppressed in one’s own country, having been jailed in her native Iran). She hears about Fatima Hassouna, a 25-year-old poet trapped in Gaza with her large family. Farsi and Fatima connect and form a deep bond over regular video calls, often broken up by bad reception. Through them, we witness Hassouna’s grace and courage under unspeakable pressure.
Why We Love It
Director Farsi pulls off the tricky premise of creating a touching, riveting full-length documentary comprised mostly of grainy cellphone footage. The audience is held mainly due to Hassouna’s radiant, transfixing presence. An essential goodness emanates from her. She and her family should not be in this position; they’ve done nothing wrong. We share Farsi’s concern and affection for her as conditions worsen. “Put Your Soul On Your Hand” is a heartrending, but essential, watch. God bless Fatima Hassouna!
What It’s About
Attractive, middle-aged Claudine (Balibar) lives in a picturesque Swiss town with Baptiste (Duby), working as a seamstress. Once a week she ventures to the fancy hotel some distance away and targets unaccompanied male guests for one-time sexual encounters. When she meets Thomas (Sarbacher), a man interested in more than casual sex, her perfect system for avoiding emotional commitment is threatened.
Why We Love It
Debut feature from director Maxime Rappaz subtly exposes the lengths we go to shield ourselves from the risk of emotional pain. Balibar is stunningly good, exposing Claudine’s inner sadness and vulnerability in small moments. We at first wonder why she quizzes her lovers on where they’re from, then understand as she tells Baptiste (an amazing Duby) that’s where his dad is traveling (the father actually abandoned the family years before). We are grateful when the charming Thomas shows up, but not sure if Claudine has the confidence to grab onto a good thing. This intimate, achingly human film is a small, quiet winner.
What It’s About
In full bodycam gear, intrepid director Chernov and his collaborator Alex Babenco embed themselves with a Ukrainian platoon during the ill-fated 2023 Ukrainian Offensive. The platoon must advance 2,000 meters against heavy Russian defenses to retake the village of Andrivka in Easter Ukraine. Just over a mile in distance, it will take the lives of many young men to reach it.
Why We Love It
Director Chernov, who won an Oscar for 2023’s shattering “20 Days in Mariupol”, returns with this BAFTA-nominated follow-up, which is every bit as potent. In between the bombs and bullets, Chernov introduces us to these frontline soldiers, most of whom are barely out of boyhood. We hear about their worries and dreams. They fight for their land; what else can they do? Yet even recognizing their heroism, it’s a colossal, tragic waste that so many of them have to die. This joint production between the Associated Press and PBS’s Frontline makes you feel the visceral terror of battle at close range, and both the nobility and futility of war.
What It’s About
When family man Eghbal (Azizi) has car trouble, he wanders in to a garage, giving mechanic Vahid (Mobasseri) a shock. His new customer walks and sounds just like the sadistic guard who tortured him in prison years ago. His thirst for vengeance awakened, Vahid kidnaps Eghbal, who claims he’s not the man in question. A sliver of doubt planted, Vahid seeks out other victims to corroborate Eghbal’s true identity, including photographer Shiva (Afshari) and feisty bride-to-be Golvokh (Pakbaten). Even if this rag-tag group manages to identify him, what then?
Why We Love It
Master director Panahi’s riveting drama explores whether an act of righteous revenge can lessen the trauma of dissidents brutally punished for opposing Iran’s regime. Can it be justified? The unexpected odyssey these former activists take to get at the truth-and the right course of action- is by turns comical and grimly serious. Panahi makes the whole adventure as colorful as it is revealing. Winner of the Palme d’Or at Cannes, this absorbing “Accident” is a must-see.
What It’s About
Months before his death in November 1943, famed lyricist Lorenz Hart (Hawke) swallows his pride to attend opening night of the landmark Broadway musical, “Oklahoma!”, his former partner Richard Rodgers’ first collaboration with lyricist Oscar Hammerstein II (Delaney). Sitting at Sardi’s, Hart reminisces with bartender Eddie (Cannavale) and gushes over his platonic romance with beguiling Yale student Elizabeth Weiland (Qualley). His health and career broken by alcoholism, Hart clings to the idea of a Rodgers and Hart reunion. Later, when Rodgers (Scott) shows up, he keeps Hart at arm’s length, alternating between affection and frustration.
Why We Love It
In “Blue Moon”, Linklater delivers a sad, affecting tribute to a brilliant but broken man. He films this almost like a one-act play, over one fateful night at Sardi’s. The whole cast delivers, particularly Cannavale and Qualley, but the unrecognizable Hawke is the whole show, making us see the loneliness underneath the clever repartee. Both exceedingly short and a closeted gay, Hart’s famous wit could never offset his feeling of being apart and alone, fueling his need to drink. With touches of humor and heartbreak, “Blue Moon” does this legend full justice.