Morvern Callar has one of the bleakest cold opens of any film. We see the titular woman (played by Samantha Morton), as she wakes up with her boyfriend dead from suicide on the floor and a computer screen that says "READ ME." The note instructs her to "be brave" and to send his novel to various publishers he's listed. That's the plot portion of the opening, before we even get there we lay with Morvern on the floor, her fingers…

I love a film about occupations and communities we don't often see in films. Bonus points if these occupational portraits involved an elaborate heist of something that we take for granted. So The Rivals of Amziah King should've been right up my alley. It's about a man who runs a honey distillery and plays bluegrass. The character dynamics are set up through a late night investigation with a violent mishap that'd make the Coen brothers blush. Another unique setup includes…

The best aspect of this courtroom drama is how patiently it reveals its intention to show how a microscopic lens on a relationship can be uglier and more hurtful than existing in the relationship itself. That level of scrutiny over an argument or the cloud of doubt over an unknowable intent. Sandra Hüller is great but I was immensely impressed by the arc and performance of her young son, Milo Machado Graner, who is having to navigate an adult methodology…

To give a hint at what's special about TÁR you needn't look further than the opening credits. The opening credits start backwards with members of the crew that generally are at the very end of the end credits, like catering and production units and assistant editors. This is a movie about how an ego can grow too big and turn to manipulation when one role gets too much credit in a collaborative field. An orchestra is like a film set,…