Written, directed, and scored by Viggo Mortensen, The Dead Don’t Hurt is a visually stunning, emotionally potent, but still impressively restrained period drama that flips the script on typical Westerns. On the surface, it looks like it could be one—there’s even a bad guy clad in black who slings guns outside a saloon—but the film decidedly focuses on Vivienne and her everyday life. Viewers might think nothing is happening, but in fact, everything is happening, such is Mortensen’s framing of the value of these overlooked aspects of life. Immigrants, too, who are usually just extras in Westerns populate this movie and make it their own—as they should. They’re the backbone of America after all, and yet they’re usually relegated to the background in period dramas. The icing on the cake is that the film is breathtakingly beautiful, each frame a transportive picture of 19th-century America.

Genre: Drama, Western

Actor: Alex Breaux, Colin Morgan, Danny Huston, Garret Dillahunt, John Getz, Michael Weaver, Nadia Litz, Ray McKinnon, Shane Graham, Solly McLeod, Vicky Krieps, Viggo Mortensen, W. Earl Brown

Director: Viggo Mortensen

Rating: R

In certain heartbreaking instances, children are separated from their parents by the State, supposedly in hopes of finding them a better home. But for plenty of British and commonwealth orphans, the government process is, at worst, systematically designed to separate families to support the Kingdom’s colonies. While the film isn’t really focused on the details and the rationale behind the program, Oranges and Sunshine is much more concerned with the fact that it happened– that it has harmed hundreds of thousands of children for hundred years, and that it only took someone who cared enough to pay attention for things to actually change. It’s a decent depiction of Margaret Humphreys’ work, and it does a great job in promoting the Child Migrants Trust.

Genre: Drama, History

Actor: Aisling Loftus, Barbara Marten, Carolina Giammetta, Chrissie Page, David Wenham, Emily Watson, Geoff Morrell, Greg Stone, Harvey Scrimshaw, Hugo Weaving, Kate Rutter, Lorraine Ashbourne, Mandahla Rose, Marg Downey, Molly Windsor, Richard Dillane, Robert Purdy, Russell Dykstra, Stuart Wolfenden, Tanya Myers, Tara Morice

Director: Jim Loach

There are moments in our childhood that we deeply regret, even if we didn’t know better, even if innocence can excuse us, and even if we weren’t the ones primarily responsible for the mistake. The memory of it can be haunting, but none has been as devastating as the memory depicted in Louis Malle’s semi-autobiographical period drama Au Revoir les Enfants. Malle brings us to the boarding school rhythms with ease, straightforwardly depicting it as is, but with the camera and the sequencing recognizant of the implications. With the natural dynamic between the unthinking Julien (Malle’s younger self) and the alert and afraid Jean formed through subtle moments, Au Revoir les Enfants culminates into the heartbreaking coming-of-age moment that Malle personally lived through in World War II.

Genre: Drama, War

Actor: Arnaud Henriet, Francine Racette, François Berléand, François Négret, Gaspard Manesse, Irène Jacob, Luc Etienne, Pascal Rivet, Peter Fitz, Philippe Morier-Genoud, Raphael Fejtö, René Bouloc, Sergio Kato, Stanislas Carré de Malberg

Director: Louis Malle

Rating: PG

Ballet has always captivated with its grace and poise, so of course it captivated cinema as well, with classics such as The Red Shoes and Black Swan centered on the dance, the culture, and of course, the drama. The juxtaposition of the ideal feminine form and the ugliness of competition, the sabotage, and the objectification are regular topics, but The American adds the national identity into its themes, tackling the anxieties of a young American in an academy that isn't friendly to outsiders. It's stunning. It gives justice to the journey of the real ballerina Joy Womack, portrayed excellently by Talia Ryder with breathtaking ease, and given dramatic flourish through the direction of James Napier Robertson. While it doesn’t quite surpass classic ballet films, Joika proves that real life ballet can be more emotional, more traumatic than any drama made about the dance.

Genre: Drama

Actor: Andrzej Andrzejewski, Andrzej Kłak, Borys Szyc, Charlotte Ubben, Diane Kruger, Edyta Torhan, Karolina Gruszka, Maciej Nawrocki, Marek Kasprzyk, Natalia Osipova, Natasha Alderslade, Oleg Ivenko, Robert Gulaczyk, Talia Ryder, Tomasz Kot

Director: James Napier

While best known for his American action thrillers in the early 2000s, writer-director Lee Tamahori returned to his roots in 2016 with the critically acclaimed Māori-centric 1950s historical drama Mahana. Tamahori continues to explore his people’s stories with The Convert. Set right before Britain colonized New Zealand, the film explores the dynamics between the white settlers and the differing Māori tribes, with much more accuracy and sympathy than older films towards the indigenous community, culture, and characters. It’s shot quite beautifully, with stunning landscapes and decent fight scenes, and the performances, especially that of Guy Pearce, make the film watchable. That being said, the film still mostly stems from the white Thomas Munro, whose perspective mostly comes about by passive observation rather than active participation in the story.

Genre: Action, Drama

Actor: Aidee Walker, Antonio Te Maioha, Dean O'Gorman, Duane Evans Jr., Guy Pearce, Jack Barry, Jacqueline McKenzie, Jared Turner, Lawrence Makoare, Mark Mitchinson, Mark Sole, Matthew Chamberlain, Renee Lyons, Stephen Lovatt, Tania Nolan, Te Kohe Tuhaka, Tioreore Ngatai-Melbourne, Will Wallace

Director: Lee Tamahori

Usually, when your film is over budget, you rewrite scenes, cut down production costs, or maybe even try to renegotiate with suppliers and crew members to fit within the budget. Allegedly, when Wong Kar Wai was making Ashes of Time, however, his friend Jeffrey Lau decided to help him out by creating The Eagle Shooting Heroes, a parody of the same source novel Legend of the Condor Heroes. It is very silly, and the costumes are very stereotypical. But for fans of Hong Kong mo lei tau, and fans of either directors, it’s an interesting double watch, seeing all the actors that made viewers cry in Wong’s dramas now make us laugh with their antics instead.

Genre: Action, Comedy

Actor: Benny Lai Keung-Kuen, Billy Ching Sau-Yat, Brigitte Lin, Carina Lau, Chan Tat-Kwong, Jacky Cheung, Jacky Cheung Hok-Yau, Joey Wang, Joey Wong, Johnny Cheung Wa, Kenny Bee, Leslie Cheung, Maggie Cheung, Maggie Cheung Man-Yuk, Pau Hei-Ching, Sze-Ma Wah-Lung, Tony Leung Chiu-Wai, Tony Leung Ka-fai, Veronica Yip, Veronica Yip Yuk-Hing

Director: Jeff Lau Chun-Wai, Jeffrey Lau

It’s both sad and amazing that a film about toxic masculinity and corporate culture released in the ‘90s remains relevant today. In the Company of Men is about two incels who exact polite revenge on women by attacking a deaf office worker named Christine (Stacy Edwards). Of course, things don’t go exactly as planned since this is the kind of film that twists and turns in unexpected curves. It’s also the kind that can fly with the barest of budgets, proving that sometimes all you need is a blistering script, skilled performers, and an eye for what visually works to make an effective film. In the Company of Men is a black comedy, so it’s not always easy to watch, but it’s profoundly thought-provoking as it asks relevant questions about the violence of fragile masculinity, the entitlement of supposed “nice guys,” the soul-sucking cruelty of corporations, and the dog-eat-dog-world of modern-day capitalism. That a small team can pack all these big ideas in its modestly budgeted indie is a wonder in itself.

Genre: Comedy, Drama

Actor: Aaron Eckhart, Emily Cline, Jesse D. Goins, Mark Rector, Matt Malloy, Michael Martin, Stacy Edwards

Director: Neil LaBute

Rating: R

In the same festival where she showcased her screenwriting chops, Rachel Sennott also showcased her dramatic side in I Used to Be Funny, a difficult drama that garnered less acclaim than Bottoms (2023). It’s understandable– while both films have a witty, gen-Z slant in its comedy, this drama is much harder to balance and heavy to watch, dealing with mental health and PTSD. The non-linear narrative occasionally does make the film feel a tad disjointed as well. However, there’s a care and a warmth from Ally Pankiw’s direction that makes this exploration of Sam’s complex trauma feel heartfelt, and Sennott holds each scene with compelling charisma.

Genre: Comedy, Drama

Actor: Caleb Hearon, Dan Beirne, Dani Kind, Ennis Esmer, Hannah Spear, Jason Jones, Kathy Imrie, Matia Jackett, Miguel Rivas, Olga Petsa, Rachel Sennott, Sabrina Jalees

Director: Ally Pankiw

Rating: NR

If you’re reading this, I can only assume you’re looking to hate-watch something laughably terrible with your friends. If that’s the case, then you’re in luck: this is the film. Like Mea Culpa before it, Tyler Perry’s Divorce in the Black is filled with caricatures, cliches, and just generally awful filmmaking. In one scene, to show the passage of time, Perry literally keeps the camera on the clock and fades it into the next hour. But also like Mea Culpa, Divorce in the Black features an otherwise great performance from its leading woman—in this case, it’s Meagan Good. Good lends her abused character more complexity than the film deserves. Like plenty of victims, she’s both afraid of and in love with her despicable husband, though the film, unfortunately, refuses to dive into that nuance and instead chalks everything up to bad and good, Christian and un-Christian. Neither domestic abuse nor general filmmaking is taken seriously here, so there’s no reason to give this film the time of day too.

Genre: Drama, Mystery, Thriller

Actor: Cory Hardrict, Debbi Morgan, Joe Komara, Joseph Lee Anderson, Meagan Good, Richard Lawson, Taylor Polidore

Director: Tyler Perry

Rating: R