The Moveable Fest

“It’s better to be killed by a beautiful woman,” Utsugi (Lily Franky) tells his daughter-in-law Susu (Fan Bingbing) in “Diary of a Mad Old Man,” relating a story he heard on the news about a man that was recently poisoned by his wife.

“We create this snapshot of this moment in time and we go onto the next issue,” Mickey (Jake Lacy) says in “Magazine” of what the work is that he does as editor-in-chief of the Platten Magazine, words that clearly resonate with Nora (“Palm Trees and Power Lines” standout Lily McInerney), a summer intern, and were likely said in some variation to writer/director Alexandra Pechman when she was in a similar position when her directorial debut takes that idea to heart.

The awkward position that Marie (Mathilde Arcel) finds herself in at the start of “Woman Unknown” pales in comparison to the truly uncomfortable place that director May el-Toukhy reveals she’s in in the director’s phenomenal third feature, set just after the end of World War II in Copenhagen.

“If you leave, who’s going to film me?” Lady Isabella (Sian Clifford) pleads in “Lady,” fearing she may have scared away Sam (Laurie Kynaston), the filmmaker that has been lured to her palatial estate by the promise of a potential Netflix series.

Sky Hopkina has steadily built a reputation for taking audiences where they’ve never been before – or at least seeing them in a way they never have — with his shimmering debut feature “malni: towards the ocean, towards the shore” in which he found the afterlife right here on earth amidst the wilderness of the Pacific Northwest and served as another revival of sorts when he’s so deftly employed visual language to carry on another beautiful vernacular, the tongue of Chinook Wawa, which could’ve...

Ashes fall from the sky as if it were snow, the way one might typically recognize Wisconsin circa 1870 when “A Prayer for the Dying” is set.

As a producer, Melody C.

A case could be made that getting across modern-day London may not have been any easier for the angry young man played by George MacKay in “Mission” than the World War I soldier he starred as in “1917,” only the landmines he tries to step lightly around could’ve been placed there by himself.

When Nick Beaulieu started down the path of making what would become “My Omaha,” he imagined going backwards in time, attempting to find the roots of how his hometown in Nebraska was shaped generations before he was born into a city where few from the predominantly white West Omaha where he grew up would make the trip to predominantly Black North Omaha and vice versa. What he couldn’t have dreamed of was having something that would be rewarding generations into the future.

“Seeing your world here and how you have everything set up here makes me really wonder about the other half, the path of trying to make videos or whatever it is you say you do,” Ricky (David Brown) says to a friend upon arriving at a mansion in “Sour Minnows,” the kind in the San Fernando Valley that appears to have no history but built almost expressly for the purpose of adding to the fantasy of a porn shoot.