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new movies to get excited about

Fall’s crop of films is here, many of which played at the various festivals that kick off the season. Some are on the road to awards season; others are seeking fun-loving holiday audiences. Most of them steer away from the IP-driven fare that clogs up the rest of the season. Keeping on top of the glut can be a challenge.To get more news about japanese korean porn, you can visit our official website.

But I’ve seen most of them, so I’m here to help. Here are 29 films from the fall season — most of which will be out by the end of the year — that are worth looking for and talking about afterward, whether at your regional film festival, your local cinema, or your home streaming service. Some are great; others are merely buzzy. I think they’re all worth your notice.
The great filmmaker Frederick Wiseman has made nearly 50 documentaries since the 1950s, but once in a great while he plunges into something a little more fictionalized. A Couple is such a movie, adapted by Wiseman and actress Nathalie Boutefeu from the letters of Sofia Tolstaya, wife of Leo Tolstoy. The film (which comes in just over an hour) is entirely performed by Boutefeu, who walks through gardens and forests as she narrates a letter to Tolstoy, reminiscing and reflecting upon both their relationship and the idea of marriage in general. It’s haunting and odd, and also mesmerizing.

One of the year’s breakouts is Aftersun, from first-time director Charlotte Wells and starring Normal People heartthrob Paul Mescal. In the 1990s, 11-year-old Sophie (first-timer Francesca Corio) is on holiday with her father, Calum (Mescal), and for a long time Aftersun seems like it’s merely about the memories of a happy childhood. But we slowly come to realize that we’re seeing those memories as an older Sophie tries to process her relationship with her father, who, while loving and supportive, is fighting his own demons. Aftersun is directed with a sure, empathetic hand by Wells. We’re all just trying to do our best; what is left in Sophie’s memories is immense grace.

Delhi’s rapidly worsening air quality and religious violence form the backdrop for All That Breathes, Shaunak Sen’s lyrical portrait of two men who work to save injured and sick birds in the city. Their quest to find resources for their perpetually underfunded operation winds together with meditations on the nature of the birds, particularly kites — birds of prey that have been forced to adapt to the changing city. “Delhi is a gaping wound, and we’re a Band-Aid on it,” one of them says. Their work stands as a metaphor for the huge task that bringing healing to the city’s human residents might be, too. After all, we all breathe the same air.

Photographer and artist Nan Goldin rose to fame in part for her raw, intimate images of her friends, often in the midst of addiction, in museum works like The Ballad of Sexual Dependency (1985). But in recent years, she’s risked her reputation to protest art world institutions that have accepted money and named spaces for the Sackler family, who own Purdue Pharma, which for decades has produced opioids that have been routinely overprescribed, causing an acute addiction crisis. For All the Beauty and the Bloodshed — only the second documentary ever to win the famed Golden Lion at the Venice Film Festival — Goldin and director Laura Poitras (Citizenfour) weave together her family’s story with the larger cultural narrative. Deceptively simple, All The Beauty and the Bloodshed is a movie about the things we prefer to leave unsaid, and the true cost of dragging them into the light.

“A lot of this really happened,” Amsterdam’s opening titles announce. Presumably the parts that didn’t happen are what furnish the core of the tale: Three people, a nurse (Margot Robbie) and two soldiers (Christian Bale and John David Washington) meet and form a close friendship that’s interrupted when World War I ends. But 12 years later, the trio are reunited when they find themselves in the middle of a plot linked to the rising tide of fascism in Europe (that’s the true part). With an absurdly stacked cast and a caper-like vibe, David O. Russell’s film is mostly diverting, rather than profound. But when the pieces come together, it really sings.

James Gray’s Armageddon Time is a semi-autofictional story of a sixth grader named Paul (Banks Repeta) growing up in Queens in the 1980s who, after some trouble in his public school, ends up at a private academy at the behest of his grandfather (Anthony Hopkins). The film features a jolt of a cameo with political implications that appear midway through — I don’t want to ruin it — but the film’s broader aim is to excavate the layers of privilege that the protagonist, whose ancestors fled the Holocaust, is slowly coming to realize. Paul’s family is navigating the gluey border between being the target of antisemitism and enjoying the opportunities and social standing that their Black neighbors will never have. Meanwhile, Paul is caught between his left-leaning family and the children at his new school who casually drop racial slurs, or pump their fists and chant “Reagan! Reagan!” at the mention of an upcoming election. It’s a truly poignant, troubling, and ultimately brilliant work of memory and self-implication.

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