KRWG

Ella Taylor

Anyone who's experienced grief more as a wild boat ride on stormy seas than as the scheduled five stages from denial to acceptance, will feel intimately spoken to by One Week and a Day, a trenchant first feature from the young Israeli writer-director Asaph Polonsky. Equal parts bracing and beguiling, Polonsky's modestly budgeted movie addresses head-on the ungovernable confusion and raw emotion that attend one of the worst losses anyone can suffer — the death of a child.

Last December The Ottoman Lieutenant, a love story set in Turkey during World War I, came and went in the blink of an eye. The movie was pretty terrible in its own right and, as critics pointed out, its Turkish funding guaranteed a truck-sized memory hole about Turkey's 1915 massacre of over a million of its Armenian citizens, an act generally deemed by historians a genocide that Turkish authorities refuse to acknowledge to this day.

"A sheltered life can be daring too," the Southern writer Eudora Welty wrote in her 1984 memoir, One Writer's Beginnings. Writing about what and whom she saw around her, Welty enjoyed robust literary fame without ever marrying or moving out of her parents' house in Jackson, Mississippi.

In the charming and soulful Japanese anime Your Name, two teenagers who have never met wake up rattled to discover that they have switched bodies in their sleep, or more precisely their dreams. And it's not just their anatomies they've exchanged, or even the identities-in-progress each has managed to cobble together at such a tender age. Mitsuha, a spirited but restless small-town girl of Miyazaki-type vintage, and Taki, a Tokyo high school boy, have also swapped the country for the city, with all the psychic and cultural adjustments that will entail.

Twenty-five years after the fall of the Berlin Wall, documentary filmmaker Petra Epperlein had painful personal reasons to return from the United States, where she now lives, to her hometown of Chemnitz in what was once East Germany. The city had been renamed Karl Marx City under the German Democratic Republic, a Soviet satellite from just after World War II.

From time to time in Hirokazu Kore-eda's gently incisive family drama After the Storm, the soundtrack produces a few bars of casual whistling backed by a soft fragment of melody that noodles along with its lead character, stalled novelist and private detective Ryôta Shinoda (Hiroshi Abe). As he bumbles through another dispiriting day in the life, we learn that a typhoon is on its way to the Japanese town where he lives.

The quietly momentous film The Sense of an Ending began life as a sublimely achy short novel by British writer Julian Barnes (for whom it won the 2011 Man Booker prize) about an apparently unremarkable man with the aptly flavorless name of Tony Webster. Partially retired and on the cusp of old age, Tony receives a blast from his youthful past back in the 1960s that shatters his conveniently doctored memory of a long-buried act of vengeance wreaked on two school friends.

He's a handsome fellow who can play all sorts when given half a chance, but Michael Shannon's alarming bone structure and "you-talkin'-to-me?" eyes tend to trap him in many Frankenstein-adjacent roles. Which is why you might be forgiven for spending much of Wolves, a somber family drama with a fun sports movie neatly tucked inside, waiting for Shannon to explode. And he is a familiar coiled spring as Billy, the self-immolating father of a promising high-school basketball star.

As You Are, a coming-of-age movie in which no one comes of age (putative adults included), opens and closes with an aerial shot of two figures crossing a lawn in front of a house. A shot rings out both times, and the action in between circles around that event in time, framed by scenes of an unseen detective grilling the major players for their selective memories of a trauma for which everyone's responsible — yet that no one, least of all the shooter, meant to happen.

There's more than one fractured monarchy in A United Kingdom, a period saga of love, race and colonial politics set in both post-World War II Britain and a tiny African tribal nation then-named Bechuanaland. Some of this really happened: In 1947 the African country's heir apparent, Seretse Khama (David Oyelowo) and white office worker Ruth Williams (Rosamund Pike) cross paths at a missionary dance in drab, foggy post-War London. In the film, their eyes lock across a crowded room; they bond over a mutual love of jazz; that's it, they're hooked for life.

Frank Langella has all manner of elastic gifts, but he's never been the sort of actor to disappear into the many roles he's played over a distinguished career. There's an underlying stern implacability to just about every deplorable villain (and occasional hero) Langella has tackled: intractable obstinates all, who bend others' wills to their own and give no quarter.

If you've been tracking Matthew McConaughey's well-earned victory march from serious babe to serious actor specializing in wilderpeople, it will not shock you to learn that in Gold, a brand new, pretty old-school poem to the American huckster, the actor bares his bottom for a scene that requires him to leap into the unprepared arms of Edgar Ramirez.

A young man about whom we know little other than his name — Leo — arrives in a pretty French village, where, with little finesse and less success, he propositions a muscled sulk of a teenage boy (Basile Meilluerat). Leo, who's played by Damien Bonnard with a kind of predatory befuddlement, has better luck with Marie (India Hair), a shepherdess who calmly takes the sexual initiative.

Rummage through the many movies that get dumped into distribution in the run-up to Oscars night and you'll often find, amid all the prestige, cinematic awards-bait, a smaller film that's perfectly fine — not great — yet that tells us something consequential about the culture that produced it. That's 100 Streets, a sour-sweet British drama about a bunch of walking-wounded Londoners crossing paths as they struggle through life-crises we all recognize — a marriage on the skids, a longed-for child, an uphill battle to rise above poverty and petty crime.

If Pablo Larrain is news to you, he won't be for long. The Chilean director, whose Tony Manero, No, and The Club won critical praise but only modest box office here, has two highly recommended new films in the awards spotlight this year. Like Jackie — a challenging and brilliant portrait of Jackie Kennedy in the aftermath of her husband's assassination — Larrain's Neruda engages in iconoclastic play with clichés that have clung to a national legend, in this case Chile's beloved poet-politician Pablo Neruda.

One way or another, every Pedro Almodovar film is all about his mothers, real or imagined. His latest, Julieta, marks a return to form for all who love to take a bath in his crimson maternal melodramas. Still, it's a quieter, more inward film, less inclined to broad winks at the audience than, say, Women on the Verge of a Nervous Breakdown, Talk to Her, or even All About My Mother.

The friction between art and life is director Damien Chazelle's ongoing obsession. It's a fine thing to ponder, though I didn't much care for his 2014 melodrama Whiplash, which worked up an overblown froth from the daffy proposition that you can bully a fledgling musician into becoming a genius drummer.

Late in mid-life Nathalie (Isabelle Huppert), a Paris high school philosophy teacher, suffers a string of punishing losses that threaten not just her well-being and sense of fulfillment, but her entire identity as a wife, daughter, mother and professional woman. Her husband (Andre Marcon) announces he's moving in with the mistress he's kept a secret for many years. Nathalie is forced to move the fragile mother (Edith Scob) she has propped up since childhood into assisted living; it doesn't go well.

Late in The Edge of Seventeen, a deftly blackish teen comedy written and directed by newcomer Kelly Fremon Craig, high-schooler Nadine sits on the toilet with her head in her hands. She's taken a beating on the usual fronts of adolescent suffering, as well as another ordeal no youngster should have to bear. "Please God, help me," the girl mutters. Then, "Why do I even bother?" Because to cap it all off there's no toilet paper. If you've seen any other movies or TV shows that producer James L. Brooks has had a hand in, you will recognize the comedy of embarrassment hard at work.

At the fancy Christmas dinner she hosts in her posh Paris home, a stylish entrepreneur named Michele, played to impassive perfection by Isabelle Huppert, verbally abuses her heavily Botoxed elderly mother and her mother's very-much-younger consort. She inflicts injury on the very-much-younger girlfriend of her former husband. She pokes fun at her ineffectual son, his partner, and their baby. She takes a covert swipe at her pretty Christian neighbor while initiating a game of footsie with that neighbor's handsome husband, a broker.

The title Loving may seem a rough fit for a movie made by Jeff Nichols, whose previous work includes Take Shelter and Mud. But Richard and Mildred Loving were the names of the real-life couple who inspired his new film; in the late 1950s they were forbidden to love and marry by the state of Virginia.

The landscape is all too familiar: Junkies, dealers, prostitution, poverty, and, here and there, spasms of violence. But Moonlight, an incandescent second feature from Barry Jenkins (Medicine for Melancholy), is a "black" movie more by way of Charles Burnett than John Singleton (Boyz n the Hood) or the Hughes brothers (Menace II Society).

Amid the current clamor for strong women characters, the films of Kelly Reichardt can seem regressive if you're not paying close attention. From her terrific debut feature River of Grass through Meek's Cutoff and Wendy and Lucy, Reichardt has given us incomplete, quietly suffering women who feel their way into change. Her M.O. is to allow their unexpressed longings to hang quietly in the air so we can feel them too, and watch what happens when they try to act on them.

The actress Sarah Paulson, who's having a very good year, can do pretty much anything. She turned herself into a racist plantation matron in 12 Years a Slave; Cate Blanchett's lesbian bestie in Carol; and there's her brilliant Emmy-winning turn as prosecutor Marcia Clark in this year's The People v. O.J. Simpson. To say nothing of her show-stopping turns as a witch, conjoined twins and other weirdnesses on American Horror Story.

The angry old gent at the heart of the Swedish film A Man Called Ove is the kind of man who puts on a suit and tie every time he tries to kill himself, which believe me is more than twice. He's also the kind of man you're likely to find in films submitted to the Academy of Motion Picture Arts and Sciences. So even though Ove, who's played with firmly compressed lips by Rolf Lassgard, is a royal pain in the butt, the suicides are played for gentle laughs and it's pretty clear from the get-go that things will pan out, in their deadpan Scandinavian way.

Earlier this year the New York-based filmmaker Oren Rudavsky released (with Joseph Dorman) Colliding Dreams, a fair-minded history of the Zionist ideal. The film documented the tension between Zionism as both a response to the mass persecution of Jews, and a catalyst for endless bloody conflict between Israeli Jews and Palestinians who fled or were expelled from their homes in the 1948 Israeli-Arab War, when Israel declared independence.

After the disaster that was 2004's Bridget Jones: The Edge of Reason, Bridget's hot mess of a life lands safely back in the spry hands of Sharon Maguire. Maguire, reportedly the model for Bridget's fizzy friend Shazzer, directs this new sequel with the same antic flair she brought to Bridget Jones's Diary when the novel-based franchise began in 2001. That film earned many detractors on many grounds, and Bridget Jones's Baby will too.

London Road is not the first musical to be made about a real-life serial killer. But it may be the first to draw its poetic life-blood from the testimony of residents of a rural English town where five prostitutes were found murdered in 2006. Aside from a wicked moment or two when a leering movie star known for playing unsavory fellows shows up to throw us off the scent, this is not about the murderer. It's about the undoing — and remaking — of a community in its own words, owing more to Shirley Jackson than Masterpiece Theater.

Poland, the late 1980s, the last gasp of Soviet rule.

In a concrete Warsaw high-rise, politics have little bearing on daily life beyond a lingering mood of diffuse anxiety. Residents come and go, bumping into one another as they lie, cheat, covet, steal, snoop, betray, commit adultery and otherwise find freshly updated ways to violate every one of the Ten Commandments. There's even a murder, yet these are — in their way — good citizens wracked by guilt, self-doubt, and a generous dose of original sin as they break the most ancient code of behavior still in force.

If you could slough off the life you'd built every few years and reinvent yourself as a whole new person, would that be a great escape or evidence of severe psychic damage? It's a great premise to lift off from, and I only wish that the overwrought but undercooked new drama, Complete Unknown, stepped up with a sharper idea of what it wanted to talk to us about. Especially with the suitably inward Rachel Weisz and Michael Shannon on hand to deepen the enigma and then open it up.

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