Even before any blood is inevitably shed during A Short Film About Killing (which serves as the expansion of another episode from director Krzysztof Kieślowski's Dekalog miniseries, alongside A Short Film About Love), there's something positively oppressive and sinister even just in the way the movie is shot. Kieślowski and cinematographer Witold Adamek use color filters to make the film deliberately ugly—as if the image is degrading right in front of us. Oftentimes shadows obscure the edges of the frame, shining a sickly yellow spotlight on the characters on screen. It's the perfect way to get right into the heads of these people existing in a lawless land driven by primal instinct.

When crime and punishment finally occur, they're equally difficult to watch unfold, but in different ways. Kieślowski lingers on the details—the tools and processes that we tell ourselves will make the act of killing easier. And what he's ultimately able to expose is how capital punishment has been made to seem humane, just, or necessary, when it's often even more barbaric, cruel, and unproductive than a crime borne of desperation. The very government that does nothing to address the roots of crime is the same one most eager to kill criminals instead.

Genre: Crime, Drama

Actor: Aleksander Bednarz, Andrzej Gawroński, Artur Barciś, Barbara Dziekan, Jan Tesarz, Jerzy Zass, Krystyna Janda, Krzysztof Globisz, Leonard Andrzejewski, Małgorzata Pieczyńska, Mirosław Baka, Olgierd Łukaszewicz, Władysław Byrdy, Zbigniew Borek, Zbigniew Zapasiewicz, Zdzisław Rychter, Zdzisław Tobiasz

Director: Krzysztof Kieślowski

Inside is a technical wonder and a fascinating vehicle for Dafoe’s character Nemo, who holds the entire thing together with a singularly insane performance. It also poses interesting questions about art, namely, what value does it hold at the end of the day? When you’re seconds away from dying of hunger and thirst, what good is a painting, a sculpture, a sketch? Are they really only as good as what they’re materially made out of or can they contribute something more? Inside plays with these questions, but unfortunately, not in any engaging, thoughtful, or creative way. The movie stretches on and on, recycling the same ideas and leaning on the inevitably disgusting ways humans survive as a crutch. An argument could be made that that is the point, to reveal the emptiness and dullness of expensive art, but Inside tries so hard to capture that feeling that it becomes the thing it critiques in the end.  

Genre: Drama, Thriller

Actor: Andrew Blumenthal, Cornelia Buch, Eliza Stuyck, Gene Bervoets, Josia Krug, Vincent Eaton, Willem Dafoe

Director: Vasilis Katsoupis

Rating: R

Shockingly little happens throughout A Young Time Ago's nearly two-hour runtime, and the little that does happen is all so poorly thought-out. As we're introduced to protagonist Tayo at a bar, a woman whom he doesn't know insists on hearing his love story—which turns out to be a story about how supernatural forces seem to have orchestrated the rape of the woman he once loved in school, and how a singer who was last seen with her tries to wash his hands of any suspicion (even if he thinks that he actually might've raped her anyway). It's an already tasteless and nonsensical plot that leads nowhere. Characters talk vaguely about who's to blame and how they can evade the fallout of the crime, while the survivor never really gets a voice or an opportunity to reclaim her control over what's happened to her.

The performances are awkward at best and totally inauthentic at worst, often leading to unintentionally hilarious line readings. And the overall technical package, while not necessarily bad, is just so flat and lifeless that it becomes impossible to track the film's emotional trajectory. And while we should consider ourselves fortunate to be able to see films from countries like Nigeria, which don't normally get a boost from mainstream streamers, we should always remember that a film this ill-conceived shouldn't represent the local industry it comes from.

Genre: Drama, Fantasy

Actor: Daniel Etim Effiong, Mofehintolaoluwa Jebutu, Timini Egbuson, Tolu Osaile

Director: Tolu Lordtanner

With elaborate sets, musical numbers, and an ensemble cast, Aachar and Co doesn’t feel like a regular budget-bound debut feature. In fact, director Sindhu Sreenivasa Murthy, who also stars as Suma, pulls off this family drama with a whimsical yet period-accurate, Wes Anderson-esque style. This style keeps the film’s nostalgic and lighthearted tone, even as the siblings’ journeys, most especially that of Suma, go into darker times. As the family cycles through each of their weddings and funerals, Aachar and Co comments on the societal changes that shifted the lives of Indian women in the 1960s. The resulting film is just as bittersweet and nostalgic as the mango preserves the family makes.

Genre: Comedy, Family, Music

Actor: Anirudh Acharya, Harshil Koushik, Mandara Battalahalli, Sindhu Sreenivasa Murthy, Sudha Belawadi

Director: Sindhu Sreenivasa Murthy

There’s a natural competitive thrill to this chronicle of the 1999 Scripps National Spelling Bee and eight of its bright young participants, but Spellbound has more than an edge-of-your-seat pull going for it. For one, there’s its holistic approach to profiling the competitors: director Jeffrey Blitz makes this as much a portrait of the village that raises these kids by interviewing their proud families and supportive communities. We get intimate snapshots of each of their disparate young lives, which together represent a cross-section of American society: from Angela — the self-taught daughter of Mexican ranchers who don’t speak English — to Neil, whose parents employ an army of tutors to prepare him for the oncoming “war.”

Spellbound ultimately sees the good in everyone — even the pushiest parents — and charitably foregrounds the obvious love and pride they all have for their kid geniuses, no matter what happens. What’s even more impressive, though, is the inspiring resilience and emotional intelligence of the young competitors themselves, some of whom have transcended deeply entrenched social inequalities to earn their place in the contest. Even those who don’t have a stirring backstory are nonetheless compelling characters (see: the delightful Harry), making Spellbound an alternately emotional, funny, and always gripping watch.

Genre: Documentary

Director: Jeffrey Blitz

In The Beasts, the idyllic semi-retirement that a French couple seeks in the Galician countryside — growing organic vegetables, fixing up abandoned farmhouses — devolves into a terrifying slow-burn nightmare. This beautifully shot yet spiritually ugly thriller plunges us straight into an atmosphere of crackling social tension that never abates. We begin after the event that turns local farmer Xan (Luis Zahera) and his brother Loren (Diego Anido) against French transplants Antoine (Denis Ménochet) and Olga (Marina Foïs): the latter two have vetoed the sale of land to a wind turbine company in favor of preserving the village’s rustic character. Incensed by what he sees as the theft of his birthright by an outsider, Xan orchestrates a steadily intensifying campaign of terror against the couple.

Though much slighter than the physically imposing Ménochet, Zahera makes for a profoundly menacing presence, and Xan’s seemingly endless appetite for hostility and vindictiveness charges the film with a deeply unsettling sense of inevitability. His performance alone would mark The Beasts as a standout, but an unexpected switch in character focus late on in the film wrests it out of Xan’s grasp and reorients the movie as a study of grim resolve — making it a film of two equally remarkable halves.

Genre: Drama, Thriller

Actor: David Menéndez, Denis Ménochet, Federico Pérez Rey, Luis Zahera, Luisa Merelas, Machi Salgado, Marie Colomb, Marina Fois, Xavier Estévez

Director: Rodrigo Sorogoyen

The latest installment of Ly Hai’s Face Off franchise has an entertaining premise with some terrible plot twists. With this premise, it’s almost expected to see the worst of the worst of people when given a jackpot, and it’s easy to feel distraught when this happens, because the initial dynamic between the six friends feels genuine. However, the fun and wacky hijinks devolve into seriously messed up plot twists. Some of these work, but certain scenes feel like it was just added for shock value at the expense of other characters. The film couldn’t choose between vilifying some characters and celebrating their friendship. Because of this, Face Off 6 feels like it missed its mark.

Genre: Action, Drama, Thriller

Actor: Huy Khánh, Huỳnh Thi, Lý Hải, Quốc Cường, Tiết Cương, Trung Dũng

Director: Lý Hải

The concepts of roads not taken and domino effects have received plenty of cinematic attention in their showier forms by way of multiverse comic book movies and dimension-hopping films like Everything Everywhere All At Once. But, though there’s no hint of sci-fi in Past Lives, Celine Song’s gentle film can count itself as one of the best treatments of that universe-spawning question: “what if?”

When her family moves from Seoul to Canada, teenage Na Young bids a loaded farewell to classmate Hae Sung and changes her name to Nora. Years later, they reconnect online and discover the spark still burns between them. This is no idealistic romance, though: Past Lives is told with sober candor. Song acknowledges real obstacles standing in the way of a relationship between the two — those pragmatic (distance) and, more painfully, personal (evolving personalities, American husbands).

Those two threads — unrealized romance and the transmutation of identity that so often takes place after migrating — are expertly entwined in Past Lives to produce a sublime, aching meditation on memory and time, practical love and idealistic romance, and all the complex contradictions that exist in between. That Song communicates so much and so delicately in only her first film makes Past Lives all the more stunning.

Genre: Drama, Romance

Actor: An Min-yeong, An Min-young, Chang Ki-ha, Chase Sui Wonders, Choi Won-young, Emily Cass McDonnell, Federico Rodriguez, Greta Lee, Hwang Seung-eon, Isaac Powell, Jack Alberts, Jane Yubin Kim, Jay Karales, John Magaro, Jojo T. Gibbs, Kristen Sieh, Moon Seung-a, Moon Seung-ah, Park Jun-hyuk, Seo Yeon-woo, Shin Hee-cheol, Teo Yoo, Yim Seung-min, Yoon Ji-hye

Director: Celine Song

Rating: PG-13

Of the many violence-inflected black comedies that Pulp Fiction spawned, Grosse Pointe Blank ranks among the best. Though it’s patently inspired by Tarantino’s magnum opus — John Cusack plays a sardonic, amoral hitman, and the film features bursts of stylized violence and a retro soundtrack — it never feels derivative. The film finds its own identity as a quirky romcom when Cusack’s character, Martin Blank, returns to his hometown for a 10-year high-school reunion on the advice of his terrified therapist (Alan Arkin).

Martin is experiencing professional disillusionment as part of the quarter-life crisis that often takes hold when one realizes it’s been a whole decade since high school. His profession puts a darkly comic spin on that convention, but the film doesn’t treat that element entirely flippantly. Unlike Martin — and so many of the film’s Pulp Fiction-inspired brethren — Grosse Pointe Blank isn’t nihilistic, but quite sincerely romantic. Its hybrid nature and surprising heart come to the fore in Martin’s renewed relationship with the girlfriend he jilted at prom: Debi (Minnie Driver), now a ska-loving radio DJ. Cusack and Driver have sparkling chemistry, which makes the sincerity with which their characters grapple with the possibility of a second chance at happiness all the more absorbing to watch.

Genre: Action, Comedy, Drama, Romance, Thriller

Actor: Alan Arkin, Ann Cusack, Barbara Harris, Belita Moreno, Benny Urquidez, Bill Cusack, Bobby Bass, Carlos Jacott, Dan Aykroyd, David Barrett, Doug Dearth, Hank Azaria, Jenna Elfman, Jeremy Piven, Joan Cusack, John Cusack, K. Todd Freeman, Michael Cudlitz, Minnie Driver, Mitchell Ryan, Steve Pink

Director: George Armitage