Masculinity gets a beatdown in Riley Stearns’ The Art of Self-Defense, a scathing satire about the fragile and toxic variations of modern manliness. After nearly dying from an assault by helmeted motorcyclists, wimpy Casey (Jesse Eisenberg) finds empowerment at the karate dojo of Sensei (Alessandro Nivola), a martial-arts guru who helps him become that which he most fears. Stearns’ off-kilter script is defined by awkward conversations and absurd twists, and its droll approach to its material generates considerable black humor. As he becomes more devoted to the dojo, Casey is drawn deeper into a demented space marked by homoeroticism, sexism, and devious criminality. What he learns, ultimately, is that violence has the power to both transform and corrupt — a lesson that Eisenberg brings to amusingly wacko life via a performance in which Casey’s seething anger and resentment at his own powerlessness lies just beneath his placid surface, ready to erupt at a moment’s notice in a flurry of kicks and punches.24. Toy Story 4
Woody (Tom Hanks), Buzz Lightyear (Tim Allen) and the rest of Pixar’s animated toys are back in Toy Story 4, and though their return engagement may not be wholly necessary — considering 2011’s ideal franchise-capping Toy Story 3 — it proves a charming, funny and deceptively weighty saga about independence, purpose and loyalty to both loved ones and, just as importantly, to one’s self. Now the property of kindergarten-bound Bonnie, who’s disinterested in playing with him, Woody finds meaning in life by protecting her newest plaything: Forky (Tony Hale), a makeshift weirdo crafted from trash. Their ensuing road-trip odyssey leads Woody to Bo Peep (Annie Potts), now enjoying her freedom as a “lost toy.” Director Josh Cooley and writers Andrew Stanton and Stephany Folsom pepper their material with the usual barrage of sharp jokes, and the voice cast — including Keegan-Michael Key and Jordan Peele as a conjoined bunny and duck — is, as always, top-notch. Plus, it has Keanu Reeves stealing every scene he’s in as Duke Caboom, the greatest Canadian motorcycle daredevil to ever grace the silver screen.ADVERTISEMENT – CONTINUE READING BELOW
23. The Dead Don’t Die
Jim Jarmusch crafts an undeadpan comedy of apocalyptic proportions with The Dead Don’t Die, a Night of the Living Dead riff played for bleak satire. In the “nice” town of Centerville, chief Cliff (Bill Murray) and officer Ronnie (Adam Driver) are forced to contend with a zombie outbreak caused by…well, maybe it’s the polar fracking that’s knocked the Earth off its axis, or the MAGA-type insanity peddled by local farmer Frank (Steve Buscemi), or simply good ol’ fashioned American materialism. “This isn’t going to end well,” warns Ronnie at regular intervals, which he knows because he’s read Jarmusch’s script — just one of many instances in which the film indulges in goofy self-referentiality. A stellar cast that also includes Chloë Sevigny, Larry Fessenden, Danny Glover, Selena Gomez, and Tom Waits (looking like a reject from Cats) go through their end-of-the-world motions with laid-back confusion and panic (they’re barely animated themselves). Meanwhile, Jarmusch stages scenes of gruesomeness with a shrug-ish good humor that belies this simmering-with-anger critique of a world going, perhaps deservedly, to hell.22. Fast Color
“If something’s broken, it stays broken,” intones Bo (Lorraine Toussaint) at the outset of Fast Color, which then proceeds to show that things — and people — can be mended through the power of family, love, and connection to the past. Director Julia Hart’s sophomore feature (co-written with Jordan Horowitz) is an unconventional superhero saga about Ruth (Gugu Mbatha-Raw), who in a near future decimated by lack of rain, flees government agent Bill (Christopher Denham) while trying to control her extraordinary abilities, which manifest themselves as seismic seizures. Ruth’s flight takes her to her childhood home and her mom Bo and daughter Lila (Saniyya Sidney), both of whom have the capacity to wield swirly-colored constructive/deconstructive energy. The volatility of youth and the vitality of kinship (with present and former relatives) serve as sturdy thematic undercurrents for this low-key genre tale. Far more subdued than its summer-blockbuster brethren, it’s a showcase for Hart’s vibrant visuals and Mbatha-Raw’s heartfelt performance as a woman finding strength not from independence but, instead, from bonds of blood.ADVERTISEMENT – CONTINUE READING BELOW
The kindness of strangers is exploited for demented purposes in Greta, Neil Jordan’s playfully bonkers thriller about the trouble that befalls young Frances (Chloë Grace Moretz) after she finds a pocketbook on a New York subway and returns it to its owner, lonely Greta (Isabelle Huppert). Courtesy of that humane act, Frances –grieving the death of her beloved mom, as well as adjusting to her new Manhattan environs with the help of her wealthy roommate (Maika Monroe)—nets herself a surrogate mother figure. Their friendship, however, is eventually revealed to be predicted on a lie that turns the proceedings cockeyed. Jordan laces the film with erotic undercurrents but otherwise refuses to unduly embellish his material, instead content to keep it on steady ground even as it grows loopier. It’s Huppert who truly elevates this story about twisted maternal obsessiveness, her Greta a cunning predator who uses sophistication and solitary sorrowfulness to mask more devious desires. Sad, elegant and extremely unhinged, she’s a stalker to remember.
20. Avengers: Endgame
Marvel saves the best for last—at least in terms of this phase of its sprawling cinematic universe—with Avengers: Endgame. This entry is theculmination of its decade-plus run of interconnected films, which offered not only surprising twists and electric superhero spectacle, but also routine chances for its illustrious cast to actually act. Helmed by Joe and Anthony Russo with the same juggling-multiple-strands craftsmanship they brought to their prior franchise installments, this latest saga finds Earth’s Mightiest Heroes trying to undo big bad Thanos’ (Josh Brolin) population-halving “Snapture.” To discuss plot particulars would be to spoil some of the fun, although the real enjoyment derived from this extravaganza comes from its self-referential fan-service nods, its ability to embellish every portentous moment with character-specific humor, and its satisfyingly seamless and cohesive conclusion. It’s a superior piece of tentpole cinema, thanks in large part to A-game performances from stars Robert Downey Jr., Chris Hemsworth, Chris Evans, Scarlett Johansson, and Mark Ruffalo.ADVERTISEMENT – CONTINUE READING BELOW
19. The Mountain
A hallucinatory nightmare of loneliness, alienation, and Oedipal desire, Rick Alverson’s The Mountain boasts shades of Stanley Kubrick and Yorgos Lanthimos even as it carves out its own peculiar, penetrating identity. Set free from the company of his remote skating-instructor father (Udo Kier), miserable Andy (Tye Sheridan) — desperate to reconnect with his institutionalized mother — sets out on a trip with Dr. Wallace Fiennes (Jeff Goldblum), who wants Andy to photograph the psychiatric patients he treats with his unique electroshock-and-lobotomy procedures. Set during the 1950s, theirs is an expedition marked by disintegration and yearning for escape and deliverance, and it ultimately leads to the home of a French healer (Denis Levant) who wants Fiennes to perform his technique on his daughter Susan (Hannah Gross), with whom Andy develops a connected-by-disconnection relationship. Aided by unnervingly stoic, expressive turns from his leads, Alverson dramatizes this off-kilter madness via painterly compositions of figures trapped in cramped, confining architectural spaces, set to ominous audio tones and blowing wind. In this surrealist landscape, humor and horror are almost indistinguishable, epitomized by Levant’s unforgettable dance of the deranged.18. Plus One
Weddings can be a torturous drag for singles, so longtime friends Alice (Maya Erskine) and Ben (Jack Quaid) decide to spend their overbooked nuptials season tag-teaming events as platonic dates. Jeff Chan and Andrew Rhymer’s romantic comedy is, per formula, bound to have its seemingly opposite protagonists discover their attraction for one another, yet predictability is of no concern when the amorous action is as consistently funny and charming as it is in this jaunty indie. Be it stumbling their way through one ceremony and party after another, or embarking on their own unlikely relationship while dealing with their troublesome parents, Alice and Ben prove to be exceptional company. She uses booze and a sharp tongue to cope with her loneliness, and he clings to high standards as a way to avoid commitment and stave off potential abandonment. Erskine in particular is a revelation—a charismatically uninhibited riot, she seems destined for Hollywood’s A-list.ADVERTISEMENT – CONTINUE READING BELOW
17. John Wick: Chapter 3 – Parabellum
John Wick dispatches adversaries in a frantic knife-throwing fight, on horseback through the streets of New York City, and with a library book (!) in Chad Stahelski’s latest go-round—and that all happens in the first 20 minutes. No franchise delivers more crazily choreographed violence than John Wick, in which savagery is carried out with both concussive force and dancer-like grace. In Parabellum, Wick teams up with Laurence Fishburne, Ian McShane, and Halle Berry (and her two crotch-fixated German shepherds) in order to stave off death at the hands of the world’s assassins, all of whom seek a bounty on his head. Improving on Chapter 2, director Stahelski stages his set pieces as exercises in vicious physicality. Through it all, Keanu Reeves strikes a dashing pose as the increasingly harried (and bloodied) Wick, his trademark designer suits and walk-softly-and-carry-a-big-gun demeanor once again employed to expert effect in a series that continues, like Reeves himself, to improve with age.16. High Life
Fertility and desolation, creation and destruction, isolation and togetherness all intermingle in hypnotic fashion in High Life, Claire Denis’ entrancing sci-fi reverie. Indebted, spiritually if not narratively, to Andrei Tarkovsky’s Solaris, Denis’ story concerns a space ship on which a doctor (Juliette Binoche) attempts to successfully conceive children through experiments with convicts as they all hurtle toward a black hole whose energy they seek to harness. One of these passengers is Monte (Robert Pattinson), who’s introduced caring for an infant, alone, in what’s soon exposed as a flash-forward. Barren spaces abound, and the French auteur infuses her material with a sense of ominous hollowness, born from longings—for purpose, conception, and reinvention—that remain unfulfilled. No clear-cut answers await those who make it to the end of this mesmerizing journey, only a mood of enigmatic ennui, bursts of sexualized violence and hunger (the latter coming via Binoche’s unforgettable visit to a room known as the “f–k box”), a superbly cagey Pattinson turn, and a finale of cautious optimism.ADVERTISEMENT – CONTINUE READING BELOW
15. Birds of Passage
Capitalist modernity, taking the form of the marijuana trade, corrupts a local Colombian culture in Birds of Passage, an ethnographically rich crime drama from Embrace of the Serpent director Ciro Guerra. Split into five sections spanning 1960-1980, and set in the country’s northern La Guajira region, Guerra’s film (co-directed by his wife and producing partner Cristina Gallego) details the disintegration of a Wayuu community thanks to enterprising Rapayet (José Acosta), who marries the daughter of terrifying matriarch Ursula (Carmiña Martinez) and transforms everyone’s fortunes by smuggling weed procured from relatives. The tension between tradition and progress is almost as taught as that between mercy and brutality, as the clan’s rise to drug-running prominence comes at a catastrophic cost. Interjecting their verité tale with doses of hypnotic dreaminess, Guerra and Gallego capture the insidious ways that greed spreads like a poison, cutting people off from their heritage, their morality, and ultimately, from their loved ones and themselves.14. Ash Is Purest White
Cohen Media Group
Love is fractured and the past is torn asunder in Ash is Purest White, another remarkable saga from Chinese auteur Jia Zhang-ke about individuals trying to plot a course through a rapidly developing nation. Employing expansive and boxy aspect ratios to denote different time periods, and embellishing his action with pop songs (including the theme from John Woo’s “The Killer”), Jia dramatizes the romance between gangster Bin (Liao Fan) and girlfriend Qiao (Jia’s wife and favorite leading lady, Zhao Tao). This abruptly ends after the latter is imprisoned for using a firearm to save her beau during an attack. Upon release, Qiao strives to acclimate herself to a modernizing world that doesn’t care about the collateral damage left in progress’ wake. From young upstarts looking to take Bin’s position, to work along the Three Gorges (which will ultimately submerge towns), change is afoot. Divided into three sections, it’s an epic vision of sacrifice and tenacity in a tumultuous age, led by Zhao’s commanding performance as a woman whose cunning resourcefulness is matched by her devotion.
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13. Her Smell
Elisabeth Moss gets her riot-grrrl on in Her Smell, delivering a tour-de-force performance of rampant egomania and self-destruction that galvanizes Alex Ross Perry’s film. A mid-‘90s Courtney Love-type who resides in the center of a tornado of her own making, Moss’ Becky Something leaves only chaos in her wake, much to the chagrin of her bandmates (Agyness Deyn and Gayle Rankin), ex (Dan Stevens), young daughter (Daisy Pugh-Weiss), mother (Virginia Madsen), collaborators/rivals (including Amber Heard and Cara Delevingne), and heroically loyal manager (Eric Stoltz). Split into five chapters that are interlaced with flashback home videos of happier early times, Perry’s tale traces Becky’s journey from apocalyptic drugged-out collapse to cautious resurrection. Throughout, his handheld camera is exactingly attuned to his protagonist’s scattershot headspace. There’s a vicarious thrill to watching this rocker spiral into the abyss and pull herself back out. While Moss doesn’t hold back in depicting Becky’s ugliness, she taps into the underlying hurt and vulnerability fueling her firestorm heart, peaking with a heart-rending single-take piano rendition of Bryan Adams’ “Heaven.”12. Shadow
Well Go USA
As evidenced by Hero and House of Flying Daggers, Zhang Yimou is no stranger to dazzling martial-arts action. Still, Shadow is an aesthetic wonder, drenched in ash-gray hues and wielding serpentine cinematography to enhance its tale. The film follows a military commander’s “shadow” (Deng Chao)—i.e. double—who, when not falling in love with his superior’s wife (Sun Li), attempts to incite a war with a rival kingdom against the wishes of his self-serving king (Zheng Kai). Epitomized by the yin-yang symbol on which many battles are fought, dualities (masculine and feminine, light and dark, real and imitation, mortal and ghostly) are rampant throughout. Romance and court intrigue are also part of this stunning package, yet far more exhilarating than the stock story is the director’s precisely choreographed wuxiacombat, highlighted by Zhang’s signature slow-mo shot—in which his camera trails behind a running fighter’s blade as it scrapes against the ground, casting water skyward—and often carried out with the most badass umbrellas ever committed to film.ADVERTISEMENT – CONTINUE READING BELOW
Diane (Mary Kay Place) is always looking out for others, be they her good friends, her older relatives, or her son Brian (Jake Lacy), who can’t get his drug habit under control. Kent Jones’ Diane is a character study of this solitary Massachusetts woman, filled with telling details and sharply observed moments that speak to her Christian altruism, her tough love, and the secrets that continue to torment (and, perhaps, drive) her. Revelation, resurrection, abandonment, and mourning all factor into her haunting story. In his debut, the critic-turned-writer/director cuts efficiently. No gesture or expression is wasted, and yet he also tends to linger—on a notepad’s to-do list, or a face trying to hide the reality behind a recent utterance—in order to evoke greater unspoken truths. Buoyed by a script attuned to the sorrowful rhythms of older age (and New England), Jones’ film rests on the shoulders of Place’s stellar, lived-in performance as Diane, a fallible woman whose selflessness is colored by anger and regret.
10. Long Day’s Journey Into Night
Kaili Blues director Bi Gan concludes his sophomore feature with a 56-minute single-take sequence shot in 3D, his camera trailing alongside (and above, and behind) his protagonist, Luo Hongwu (Huang Jue), as he navigates a rural dreamscape that he’s travelled to while sitting in a movie theater. The past, memories, and the cinema are inextricably intertwined in Long Day’s Journey Into Night. The story—about Luo’s return to his Kaili hometown, where he remembers an old comrade and looks for former love Wan Qiwen (Tang Wei)—comingles today and yesterday in poignant fashion. Motifs involving broken timepieces, dripping water, starry skies, flight and fire all pepper Gan’s latest, which is bookended by telling images of rotating colored ceiling lights and a room spinning around blissful lovers. As beguiling as it is gorgeous, his oblique film charts Luo’s experience in a world at once real and imagined, along the way spying him in, and through, numerous mirrors and glass filters until he resembles a displaced ghost in search of home.ADVERTISEMENT – CONTINUE READING BELOW
9. Apollo 11
The term “awe-inspiring” may be overused in critical circles, but it roundly applies to Todd Douglas Miller’s Apollo 11, a definitive documentary about the United States’ first trip to the moon. Premiering on the 50th anniversary of that momentous event, it utilizes a treasure trove of recently discovered 65mm footage and audio recordings to offer an up-close-and-personal view of the preparations for launch, the men and women toiling behind the scenes to ensure its safety, the crowds gathering to witness history, and the outer-space flight itself, shot by cameras accompanying (and sometimes manned by) Neil Armstrong, Buzz Aldrin and Michael Collins. That imagery boasts breathtaking scale, conveying the literal and figurative enormity of everything involved with the Apollo 11—making it ideally suited for IMAX. Nonetheless, in any format, Miller’s curatorial effort is a work of thrilling enormity, presenting this pioneering triumph as the byproduct of myriad individuals, immense ingenuity, and the colossal bravery of three men who dared to venture to the stars.
8. The Souvenir
Young love is a vehicle for self-definition in Joanna Hogg’s The Souvenir, the writer/director’s finely calibrated coming-of-of age drama. Aspiring London filmmaker Julie (Honor Swinton Byrne) falls for older, cultured Anthony (Tom Burke), who has a habit of making every compliment sound self-serving. Hogg depicts their affair with little concern for superfluous in-between stuff, cutting pointedly to the couple’s most crucial incidents together, and in the process she strikes an assured balance between realism and impressionism. A semi-clandestine drug habit eventually becomes a complicating factor for the duo, but the real heart of this enthralling film is Julie herself, whose interior state is brought to vivid life by the director’s intimate, aesthetically diverse approach. Awash in talk about movies and moviemaking, Hogg’s feature is elevated by Byrne’s star-making turn as a young woman caught between genuine love, her recognition that her relationship is perhaps doomed to fail, and her desire to find her voice—personally and artistically—on her own.ADVERTISEMENT – CONTINUE READING BELOW
7. An Elephant Sitting Still
Tragedy comes from rejection, resentment, alienation, rage, and sorrow in An Elephant Sitting Still, an intimate epic about Chinese citizens who view themselves as powerless and worthless. The outstanding debut feature from Hu Bo (who died shortly after production was completed) concerns a collection of individuals whose lives intersect during the course of a single day. This includes Wei Bu (Peng Yuchang), an angry high-school student who accidentally commits a catastrophic crime; Yu Cheng (Zhang Yu), the guilt-stricken gangster brother of Wei Bu’s victim; Huang Ling (Wang Yuwen), a classmate of Wei Bu’s who’s involved with her vice dean; and Wang Jin (Liu Congxi), a grandfather being coerced by his son and daughter-in-law to move into a nursing home. Hu shoots each protracted scene in long, unbroken takes, habitually foregrounding his subjects in shallow focus while staging key action in the fuzzy background. At nearly four hours, the film imparts an overpowering sense of its characters’ despair, and the misfortune that befalls them whether they remain alone or try to engage with others—a despondency only amplified by its empathy.6. Gloria Bell
Growing old isn’t easy for Gloria Bell (Julianne Moore), the single heroine of Sebastián Lelio’s outstanding English-language remake of his 2013 Chilean drama. Between friends being laid off, concerns about retirement, and adult children navigating their own fraught romantic paths, Gloria makes her way through middle age with a brave face, finding temporary solace on the dance floor and, for a time, in the arms of Arnold (a magnificent John Turturro), a recent divorcé struggling to break free from his ex-wife and two needy daughters. With a light touch that allows for instances of escapist lyricism (none better than recurring shots of Gloria spinning amidst swirling colors), Lelio fashions a tender, incisive, heartbreaking ode to the myriad complications of adulthood, where efforts to move forward are burdened by regrets, entanglements, and longing for connection. Led by a tour-de-force turn by Moore, whose expressive work is some of her finest to date, it’s a small-scale story marked by a profound understanding of life as it’s actually lived, and felt.ADVERTISEMENT – CONTINUE READING BELOW
Dark, demonic power courses through Hagazussa, a legitimately evil folk story of inheritance, corruption, and damnation. In the Austrian Alps circa the 15th century, young Albrun (Celina Peter) tends to her mother (Claudia Martini), a supposed witch, in their remote log cabin. Years later, adult Albrun (Aleksandra Cwen) cares for her infant daughter in that same abode, whose only visitor is Swinda (Tanja Petrovsky), a neighbor who, like the local priest, seems concerned with saving ostracized Abrun’s soul. Light on dialogue but heavy on black-magic mystery, writer/director Lukas Feigelfeld’s fable casts its spell via slow-burn plotting and malevolent imagery, culminating with a kaleidoscopic underwater visual orgy of blood, roots, bone, tendrils, and mutating shapes. Like the mist that covers the mountainous region’s treetops, suggestions of profane forces are everywhere—in the sight of Albrun milking her goat, or a shrine for a skull—and they burrow under one’s skin, much like the unholy whispering and thunderous bass heard on a soundtrack that heralds madness, doom, the end.4. The Beach Bum
Matthew McConaughey is the king of bongo-drumming laissez-faire cool, and in The Beach Bum, he assumes the role he was born to play. That would be Moondog, a South Florida “bottom feeder” who, having set aside his once-illustrious poetry career, is now content to coast through his beachside town’s many imbibing establishments. He’s looking for his next toke, drink, and beautiful woman to bed. Writer/director Harmony Korine’s shaggy-dog saga follows the bedraggled Moondog from one absurd adventure to the next (with, among others, Snoop Dogg, Isla Fisher, Zac Efron, Martin Lawrence, and Jonah Hill), channeling both his gift for taking life as it comes, and his ability to derive sensualist pleasure from each new encounter. With long hair and a fanny pack permanently affixed around his waist, McConaughey is a magisterial stoner hedonist, and if his rollicking escapades aren’t enough to deliver a potent contact high, Korine and cinematographer Benoît Debie’s rapturously colorful portrait of Florida’s posh and downtrodden landscapes more than do the delirious trick.
ADVERTISEMENT – CONTINUE READING BELOW3. Climax
Gaspar Noé’s cinema routinely traces the line from harmony to chaos, and that’s once again true in Climax, the inspired-by-real-events tale of a dance party descending into hellish madness. Beginning, portentously, with interviews seen on a television set surrounded by the director’s favorite VHS horror films, the French auteur’s latest is arguably his least provocative to date. Regardless, it’s still an escalating nightmare scored to thumping electronica and populated by a raft of potential monsters. Even during its more serene early scenes, his characters’ choreographed numbers exhibit a frightening intensity, and once these artists unwittingly drink some LSD-spiked punch, their emotional equilibrium and interpersonal relationships spiral terrifyingly out of control. Often executed in long single takes, Noé’s swirling, floating, slithering camerawork is as dexterous as his physically agile subjects. The result is an aesthetic performance piece that feels like the psychosexual underworld dance freak-out that Luca Guadagnino’s Suspiria wanted to be, replete with a finale that takes up residence in some hallucinatory ninth circle of Hell.
2. Under the Silver Lake
There are codes within codes within codes in Under the Silver Lake, David Robert Mitchell’s deliriously shambolic neo-noir about stoner sleuth Sam (Andrew Garfield, never better) traversing a Lynch-ian L.A. landscape in search of a mysterious missing beauty (Riley Keough). Also channeling the spirit of Robert Altman, Brian De Palma, Alfred Hitchcock, and Hollywood golden-age classics (set to a Henry Mancini-esque score), Sam’s cine-odyssey is a quest for meaning in an overstuffed pop-culture world. Movies and myths collide, both mirthfully and mournful, as Sam strives to uncover the knotty conspiracy-theory connections linking everything and everyone. From Super Mario Bros.,new-age cultists, pirates and bomb-shelter tombs, to masturbatory porn patterns, dog killers, comic books (Spider-Man, wink wink) and song lyrics scribbled on pizza boxes, secret world-governing ciphers are ubiquitous. Mitchell reveals them through an adventure that’s witty, aesthetically dexterous, and laced with dark disillusionment about the puppetmaster powers-that-be and their covert machinations. Reconfiguring noir’s fatalistic heart for our tangled modern condition, it’s a portrait of the surreal new bleakness, with everything part of a grander whole that offers no substance or solace—leaving only that eternal desire for truth, and togetherness.ADVERTISEMENT – CONTINUE READING BELOW
Music Box Films
In a Europe that simultaneously resembles today and 1940, German expat Georg (Franz Rogowski) endeavors to escape Paris before the arrival of encroaching Nazi-esque fascists. Arriving in Marseilles, he befriends the African son (Lilien Batman) and wife (Maryam Zaree) of a former comrade. Through circumstance, he also assumes the guise of famous writer Weidel, whose possessions he acquires and whose documentation permitting travel to Mexico await him at the port city’s embassy. So too does Weidel’s wife Marie (Paula Beer), who repeatedly mistakes Georg for her husband, and who longs for reunion even as she continues an affair with a man (Godehard Giese) whose obsessive amour prevents him from departing. Borders to cross and barriers impeding passage are omnipresent in Transit, which like so much of writer/director Christian Petzold’s transition-fixated oeuvre, is a forlorn romantic reverie about identity, regret, trauma, and rebirth. Moreover, it’s another of his masterworks to confront issues of personal and national consciousness through a distinct cine-filter, with Casablanca and The Passengerproving two of its many spiritual touchstones. It’s an entrancing and inherently mysterious ghost story that’s both timeless and, sadly, of our particular moment.