“A Hero” (Asghar Farhadi)
Nobody on the planet makes socially realist crime dramas like Asghar Farhadi. Nobody. Shaping everyday situations into heartbreaking tragedies casually committed by family—ones that often find cultural embarrassment taking precedence over the actual crime—Farhadi hasn’t made a bad film in almost two decades (there’s a reason the man has two Oscars). His latest, “A Hero” begins with his lead character, Rahim (Amir Jadid) already in prison, having been unable to pay off his debts. When an opportunity presents itself, Rahim makes a plea with his creditor to withdraw part of the complaint, but it doesn’t go smoothly. Returning his focus to Iranian class structures after the fascinatingly underseen, Spanish-language soap opera ”Everybody Knows,” most world cinema lovers should already be sold on anything Farhadi. – AB
“Memoria” (Apichatpong Weerasethakul)
Palme d’Or winner Apichatpong Weerasethakul (“Uncle Boonmee Who Can Recall His Past Lives”) teams with Tilda Swinton for his first film shot outside Thailand. Little is known about the secretive project; although we do know it’s set in Columbia, deals with the director’s obsession with South America, and Swinton reportedly plays an orchid farmer (maybe it’s his “Adaptation?”). A pioneer of contemporary ‘slow cinema,’ Apichatpong Weerasethakul doesn’t rely on dialog, instead using contemplative imagery and narrative constructs to lull audiences into a trance. His last few ventures have arguably been a tad more accessible than his earlier films, so it will be interesting to see if adding an internationally renowned figure like Swinton to the equation changes up his usual tempo. – AB
‘Nitram” (Justin Kurzel)
Making back-to-back films based in his native country of Australia after helming the video game adaptation of “Assassin’s Creed,” director Justin Kurzel’s “Nitram,” is a domestic thriller set in the ’90s. Teaming again with actress Essie Davis (who starred in his last feature, “True History of the Kelly Gang”), Kurzel’s newest focuses on a young man, Nitram (Caleb Landry Jones), caught in a world of social isolation. Still living with his parents, Nitram can’t seem to get out of his rut of stagnation, until he finds a close friend in a cloistered heiress played by Davis. After their relationship becomes strained, the boy’s anger and resentment fester past the point of no return. The concept for Kurzel’s newest may not sound groundbreaking, but is strongly befitting of his directorial skill set. – AB
“Paris, 13th District” (Jacques Audiard)
The synopsis for Jacques Audiard’s latest, “Paris, 13th District” provides few details, simply reading: “Émilie meets Camille who is attracted to Nora, who crosses paths with Amber. Three girls and a boy – They’re friends, sometimes lovers and often both;” but, considering its co-penned by Céline Sciamma (“Portrait of a Lady on Fire”) and stars Noemie Merlant alongside the epic post-punk band Savages’ lead singer, Jehnny Beth, count us in (if you haven’t seen them in concert, put it on your bucket list). A relationship whirlwind knocking down walls normally boxing in queer characters, sometimes the meeting of the right artistic minds is enough to spin a fresh version on a tired set of standards. Given the talent involved, “Paris, 13th District could swerve in any number of creative directions, all of which seem exciting. – AB
“Red Rocket” (Sean Baker)
Taking a slight swerve from the heavy social realism of his first two features, Sean Baker’s “Red Rocket,” finds the format-obsessed filmmaker moving into dark comedy territory. Starring Simon Rex as Mikey, a washed-up porn star whose hustling antics have turned his whole hometown against him. Trying to get back in the good graces of his estranged wife and mother-in-law, Mikey starts on the path to self-improvement, until he falls for a woman named Strawberry (Suzanna Son) working at a doughnut shop. Baker is no stranger to taking a mindful approach to the social stigma of sex work, being one of the most empathetic directors in the business right now, and we can’t wait to see what kind of comedy he’s cooked up. – AB
