The tragic irony of war — that, if battling soldiers had been born in any other time or place, they may well have been friends with each other — takes center stage in this brilliant drama set in WWII-era Java. It's a theme best encapsulated by Captain Yonoi (Ryuichi Sakamoto in his film debut), the bushido code-following commandant of a Japanese POW camp: “How wonderful it would have been if we could have invited all of you to a gathering under our cherry trees,” he muses to the titular British Lieutenant Lawrence (Tom Conti), one of his prisoners.

Lawrence is the camp’s mediator, and not just because he’s fluent in Japanese; in the culture clash microcosm that is the camp, he is uniquely understanding of his captors’ way of life. That earns him special privileges of sorts from the camp’s often brutal enforcer (Takeshi Kitano), but this pales in comparison to the instant partiality with which the charismatic Major Jack Celliers (David Bowie) enjoys, courtesy of a smitten yet deeply repressed and tormented Yonoi. This psychosexual undercurrent bubbles furiously throughout Merry Christmas, Mr. Lawrence, deepening its (already poignant) lamentations about war’s humanity-stripping effect and the self-imposed prisons that are honor and shame.

Genre: Drama, History, War

Actor: Alistair Browning, Arthur Ranford, Colin Francis, Daisuke Iijima, David Bowie, Geoff Allen, Geoff Clendon, Grant Bridger, Hideo Murota, Hiroshi Mikami, Ian Miller, Jack Thompson, Johnny Ohkura, Kan Mikami, Richard Adams, Rokkō Toura, Ryuichi Sakamoto, Ryūnosuke Kaneda, Stephen Taylor, Takashi Naito, Takeshi Kitano, Tamio Ishikura, Tom Conti, Yōichi Iijima, Yūji Honma, Yūya Uchida

Director: Nagisa Ōshima

Rating: R

Less a documentary on Johannes Vermeer himself and more about the art scholar's mission to study ideas of beauty and aesthetics from various perspectives, this documentary successfully takes an admittedly very esoteric subject and makes it compelling. Director Suzanne Raes easily gets to the essence of the complex questions and insights that these Vermeer experts have, but without dumbing them down or reducing them into generic academic talking points. In fact, the thing that really comes through in the film's discussions is the emotion that these people feel in figuring out how Vermeer managed to paint such stunning images, and what the man was drawn to in human beings. It's oddly persuasive; whether or not you're a fan of 17th-century artists, watching Close to Vermeer feels like finally solving a puzzle.

Genre: Documentary, History

Actor: Abbie Vandivere, Anna Krekeler, Gregor J. M. Weber, Jonathan Janson, Pieter Roelofs

Director: Suzanne Raes

Fairytale parodies reimagine these classic tales to reexamine or question its related themes. Once Upon a Crime attempts to do this by imagining Little Red Riding Hood as a detective investigating the murder of a hairdresser in Cinderella’s ball. The campy glamor of the costumes and sets, as well as the incongruence of Little Red’s detective mindset, makes the film watchable. However, the film takes strange twists that stray too far from the original stories. And while the cut locks make an intriguing metaphor, the resulting ending betrays any sense of justice for the characters, most especially the abused Cinderella.

Genre: Adventure, Comedy, Crime, Fantasy

Actor: Atsuhiro Inukai, Jiro Sato, Kanna Hashimoto, Masaki Kaji, Midoriko Kimura, Miki Maya, Mirei Kiritani, Mizuki Yamamoto, Natsuna Watanabe, Takanori Iwata, Tomoharu Hasegawa, Tsuyoshi Muro, Yuko Araki, Yumi Wakatsuki, 室毅

Director: Yuichi Fukuda

Rating: PG

You don’t have to be a theater kid to enjoy this feel-good mockumentary set in a summer camp for junior thespians. While there are plenty of in-jokes here for those who might have spent a summer or two somewhere like AdirondACTS, Theater Camp also good-naturedly lampoons every instantly recognizable stereotype of theater kids and the classic failed-performer-turned-teacher. 

Amongst the note-perfect ensemble, particularly hilarious standouts include co-writer Ben Platt and co-director Molly Gordon as camp instructors and best friends Amos and Rebecca-Diane. Both are Juilliard rejects with codependency issues and a classic case of actorly self-indulgence — as encapsulated in the moment they accuse a young attendee of “doping” for using artificial tears during a performance (“Do you want to be the Lance Armstrong of theater?”). But even seasoned performers like Platt and Gordon can’t pull the spotlight away from the film’s absurdly talented young ensemble, who are just as game for poking fun at their passion: standouts include Luke Islam, Alexander Bello, and Minari’s Alan Kim as a pint-sized “aspiring agent” who skips dance class to make business calls. All this self-satirising never obscures the movie’s heart, though; what begins as a self-deprecating ribbing of theater-heads ultimately becomes a rousing love letter to those very same misfits.

Genre: Comedy, Music

Actor: Alan Kim, Alexander Bello, Amy Sedaris, Ayo Edebiri, Ben Platt, Caroline Aaron, David Rasche, Dean Scott Vazquez, Donovan Colan, Jimmy Tatro, Kyndra Sanchez, Luke Islam, Max Sheldon, Molly Gordon, Nathan Lee Graham, Noah Galvin, Olivia Puckett, Owen Thiele, Patti Harrison, Priscilla Lopez, Tyrone Mitchell Henderson

Director: Molly Gordon, Nick Lieberman

Rating: PG-13

Watching Love at First Sight, there are times you catch it almost falling into eye-rolling clichés, like when Hadley loses Oliver’s number or when their first kiss is interrupted by someone suddenly opening the door. But the film’s self-assured and self-aware charm subverts conventions and saves it from being just another cheesy rom-com you’d sooner skip on Netflix. The statistic-heavy narration by Jameela Jamil manages to be both amusing and romantic, and casting Jamil as an omnipresent chameleon who is fate-personified is an inspired move that helps the film move along smoothly. Though they lack sensual chemistry, Richardson and Hardy are individually, abundantly charming. It’s hard not to be moved by their stories, as common as they may be in movies like this. Love at First Sight is fluffy and familiar, but it is also the sort of heartwarming fare you’ll want to watch again and again, especially at Christmastime, when the movie is set.  

Genre: Drama, Romance

Actor: Andromeda Godfrey, Anthony Warren, Ben Hardy, Dexter Fletcher, Doña Croll, Haley Lu Richardson, Ibinabo Jack, Jameela Jamil, Jessica Ransom, Katrina Nare, Kerry Howard, Philip Bird, Rob Delaney, Sally Phillips, Sam Booth, Tom Taylor, Tracy Wiles

Director: Vanessa Caswill

Rating: PG-13

From the moment it begins, The Monkey King hardly pauses to take a breath. The characters are always frantically jumping into the next scene, the action is nonstop, and the jokes, though juvenile, arrive one after the other. This is okay if you’re looking for a brisk viewing experience, but not so if you’re prone to vertigo. It moves at a relentless pace, which doesn’t just make the film a dizzying watch; it also robs the animation’s beautiful details of the time it needs to be appreciated. The movie’s core message, too, is buried under all the film’s pizzaz, which is a shame considering its refreshing pragmatism. When all the other kids’ movies are promoting courage and confidence, The Monkey King actually warns against the dangers of an inflated ego. The Monkey King is passable entertainment for the family, but with a better pace, it could’ve been great. 

Genre: Adventure, Animation, Comedy, Family, Fantasy, Kids

Actor: Andrew Kishino, Andrew Pang, Artemis Snow, BD Wong, Bowen Yang, David Chen, Dee Bradley Baker, Hoon Lee, James Sie, Jimmy O. Yang, Jo Koy, Jodi Long, Jolie Hoang-Rappaport, Kaiji Tang, Mark Benninghoffen, Robert Wu, Ron Yuan, Sophie Wu, Stephanie Hsu, Vic Chao

Director: Anthony Stacchi

Rating: PG

Despite the amusing specificity of its title, this lovely documentary from director Les Blank is really for all of us. Through the example of gap teeth — a physical feature many of the participants here report being made to feel self-conscious about — the film makes a rallying call to embrace ourselves and all of our physical “flaws.”

A big part of what makes this film so heartening is that so many of the women featured here (including model Lauren Hutton) have come out on the other side of loathing their gap teeth, giving us a tangible example of what it looks like to love yourself in spite of other people’s opinions about your body. What’s more, even within a limited runtime, Blank finds space to devote to exploring other aspects of the featured women’s lives — their art, professions, religious practices — and thereby quietly expands the film’s focus from physical beauty and onto the myriad beauties of life itself. It’s an ironic pleasure that Gap-Toothed Women ultimately refuses to define its subjects by the very feature described in its title, and instead gives us this life-affirming shot of wisdom for the ages.

Genre: Documentary

Actor: Lauren Hutton, Lauren Moore, Sandra Day O'Connor

Director: Les Blank

It’s slower and talkier than you’d expect from a semi-erotic film, but Ehnegard lives up to its title well enough to satisfy. It’s titillating, but in a cheeky rather than provocative way. The dialogues are lengthy, but they’re alternately witty and poetic, so despite the pace they never actually bore. Ehnegard’s real delight, however, is its beauty. Set in the old kingdom of Babenhausen, Ehnegard looks like a fairy tale come to life. The towering castles, the sprawling meadows, the twinkling forest lakes, and of course, the smartly costumed people who populate the scenery—all these and more ensure that each frame has a picturesque glow to it. And with Sidse Babett Knudsen (Borgen, Westworld) taking charge of an appealing cast, Ehnegard proves to be a charming watch.

Genre: Comedy, Drama, Romance

Actor: Alice E. Bier Zandén, Christopher Laesso, Emilie Kroyer Koppel, Jacob Ulrik Lohmann, Jakob Højlev Jørgensen, Lone Rødbroe, Mikkel Boe Følsgaard, Paul Hüttel, Sara-Marie Maltha, Sidse Babett Knudsen

Director: Bille August

Rating: R

Huesera: The Bone Woman might not be the scariest film horror fans would see, but it does strike at the heart of the scary experience of motherhood. Through eerie sounds of breaking bones and weirdly contorted hands at the edge of beds, the film depicts new mother Valeria being haunted by the titular spirit, despite her prayer to the Virgin Mary. Valeria pleads for her husband and family to listen, though each time she does becomes proof of her faults as a mother. The terror in newcomer Natalia Solián’s face makes it all feel believable, but it’s the folk-inspired imagery of first-time feature director Michelle Garza Cervera that turns this film into a feminist masterpiece.

Genre: Drama, Horror, Mystery

Actor: Aida López, Alfonso Dosal, Emilram Cossío, Enoc Leaño, Gina Morett, Martha Claudia Moreno, Mayra Batalla, Mercedes Hernández, Natalia Solián, Pablo Guisa Koestinger, Samantha Castillo, Sonia Couoh

Director: Michelle Garza Cervera

Rating: NR