Reviews

Sunrise: Pietro Marcello’s latest, Scarlet is a tender, sumptuous fairy tale which exemplifies the director’s deft straddling of documentary and fiction, realism and illusionism

Double vision: reality isn’t what it's cracked up to be in mid-festival standouts like Jonathan Glazer’s The Zone of Interest, Todd Haynes’s May December, and Justine Triet’s Anatomy of a Fall

Watch it grow: the final entry in Paul Schrader’s “lonely man” trilogy is less about race than it is about broad-strokes ideas of freedom

Time fades away: on the occasion of Shinji Somai’s ongoing retrospective at the Japan Society, critic Emerson Goo offers a primer on the director’s audacious, and enduring, filmography

Back to life: Evil Dead Rise, more than other reboots of the franchise, gets closer to squeezing real feelings out of the scenario without ever going soft on the gory trappings

Stormy skies: Laura Citarella’s uncanny epic, Trenque Lauquen, is not the kind of detective story whose secrets are explained by hard facts; rather, its pleasures are rooted in the very principle of investigation

Child’s play: Ari Aster’s latest living nightmare, Beau Is Afraid, stars Joaquin Phoenix as a stunted, paranoid mama’s boy, caught up in a roller coaster of horrors—and is not quite as interesting as one would hope

Blurred lines: Mark Jenkin’s mind-bending slice of purgatorial folk horror vividly depicts the psychological dissolution of a woman living in isolation on the windswept moors of a tiny Cornish isle

Collective memory: Mohanad Yaqubi archival collage of emphasizes cinema’s capacity to provoke viewers’ empathic imagination and spark solidarity

Nightlight: C.J. “Fiery” Obasi’s new feature is a black-and-white West African folk tale in which the actors glow against a backdrop of ocean and forest