Jude Dry

Even as Quest toys with expectations, (there are no chart toppers to be found here), the triumphs in Quest are much harder to spot, though they are mighty; love, family, and hope in the face of adversity. Nothing could be more harmonious.

While Jones (as is his right as an artist) seems determined to recast D-Man as an amorphous meditation on grief in many forms, the specificity of the piece is undeniable — and what makes it so enduring. D-Man speaks for itself, and it’s poetry in motion.

Welcome to Chechnya is a vital and urgent portrait of an unprecedented humanitarian crisis, and the world needs to hear about it.

A testament to the power of community to heal the deepest wounds, My Life As A Zucchini takes on heavy subject matter with a light hand, and comes up with a delightful tale that is equal parts wrenching and uplifting.

There will be many people who see themselves in the furtive glances and mud-covered kisses from which God’s Own Country weaves its harsh but hopeful narrative, and they will do so while witnessing a finely crafted piece of cinema.

Overflowing with stunning visuals, Black Is King blends imagery from the Pan-African movement, African art and Western portraiture of African bodies, as well as Beyoncé and Jay-Z’s shared vision of Black excellence within Western culture.

The polished new documentary, McQueen, charts the late designer’s rise from English country boy to fashion’s enfant terrible, but the filmmaking lacks the artistic vision of its subject.

Without a singular galvanizing conflict to focus the plot, Driveways feels more like a collection of character studies than a cohesive whole.

By all rights, it should be a heartwarming comedy with a few more tender moments. Instead, Hearts Beat Loud operates like a sad drama with a few moments that might make you smile. We knew punk was dead, but the comedy doesn’t have to be.

Ducournau tears down the walls of a genre so often identified with male filmmakers. (Like the father of body horror, David Cronenberg.) Shrewdly using the art-horror format to upend the traditional teen Bildungsroman, “Raw” makes it impossible to look away — as much as you might want to.

It’s the first documentary about the musical legend, and aside from the fact that no such film would exist without Turner’s approval, it offers an illuminating take on her complicated trajectory while humanizing the larger than life diva.

“Best Worst Thing” is more than a story about a Broadway show; its most poignant moments examine the thrill of dreams coming true, and the inevitable come down afterwards.

It is a stirring call to action, and an urgent warning to those who place religion above their child’s survival. Most importantly, however, the film does not judge or speak down to those who most need to hear its message.

The film is itself a provocation; a fascinating document of a years-long conceptual project as well as the final (or next) piece of the complicated puzzle.

Shot primarily at her eye level, Little Girl takes you straight to the heart of the trans child’s experience, seeing through her eyes the dogged support of her indefatigable mother and loving family.

Trophy tells a story as captivating as its images are beautiful.

The most surprising thing about Keeping Up with the Joneses isn’t that it’s actually funny, but that some touching unlikely friendships emerge amidst the outrageous action sequences.

Like a great poem, End of the Century gives voice to a seemingly indescribable feeling, one anyone who’s ever fallen in love will recognize from deep in their soul — as if bumping into an old friend you forgot how much you liked.

Raw and unadorned, Whose Streets? is a documentary in the truest sense of the word; an actual moving document of events fresh in the country’s memory, but never before laid as bare as they are here.

Perhaps what is most radical about Disclosure is the wide array of trans spirits both onscreen and off. In making the film, Feder and Cox are rewriting the very history they set out to tell, adding one more title to “positive representation” list. That alone is worth coming out for.

Shiva Baby blends a claustrophobic Jewish humor with a sexy premise to deliver a lively debut.

Anyone with a passing knowledge of voting rights won’t find much new information in the film, but it’s a rousing and well crafted piece of educational media that takes aim at what research has found to be its most crucial audience: Young voters.

One of Us offers a rare window into a highly insular community that is often misunderstood, or tacitly sanctioned for fear of stoking anti-semitism.

Barnard once again proves herself the bard of the British working class. In Ali & Ava, she abandons her occasionally bleak realism for a kind of stubborn hopefulness, letting the delight of unexpected connection break through the storm clouds.

This charming documentary is more than an IMDb-scroll come to life, avoiding the usual pitfalls of generic biopics thanks in no small part to Moreno’s surprising candor and vulnerability.

A Secret Love is full of the kind of gentle ribbing and loving chuckles one would expect from any adorable old couple, but it’s made all the more poignant by the fact of Pat and Terry’s trailblazing personal histories.

As a personal portrait, “Ailey” is lacking for charming anecdotes or nuggets of wisdom from the artist himself. But a true artist speaks through his work, and it’s appropriate that the revelations in “Ailey” arrive via the dance scenes.

With director Elizabeth Carroll as skilled sous-chef, Diana Kennedy: Nothing Fancy brings bold flavors together to serve a scrumptious delight of a film.