‘Out of Season’ Review: Two Lost Lovers Get a Second Chance to Say Goodbye in Stéphane Brizé’s Delicate Mood Piece

Guy Lodge Film Critic The negotiations of adult sexual relationships, as well as the demands forced upon single women in society, are recurring fascinations in the work of Spanish writer-director Isabel Coixet, albeit to erratic effect: In recent years, particularly in such English-language efforts as “It Snows in Benidorm” and “The Bookshop,” her voice has felt unconfident, even a little stifled. But Coixet strikes with a renewed sense of conviction in “Un Amor,” an adaptation of Sara Mesa’s Spanish-language bestseller that plays to her unusual strengths as a full-blooded feminist filmmaker.

Guy Lodge Film Critic In his staggering 2012 film “Our Children,” Belgian writer-director Joachim Lafosse turned an unthinkable true-life tragedy — the story of a mentally ailing mother who, one hitherto ordinary afternoon, single-handedly murdered all five of her children — into deeply compassionate drama, focusing not on the lurid whats of the event, but its more intimate, less discussed whys. That approach again serves Lafosse well in “A Silence,” another solemn, upsetting domestic chamber piece that lightly fictionalizes and foregrounds the hidden, knotty familial tensions behind a headline-making scandal.

Guy Lodge Film Critic It’s the stock answer that many a happy long-term couple has given prying friends and relatives to explain why they haven’t married: “We don’t need a piece of paper to prove our love.” True enough. What can official documents tell you of something as wily and elusive as human desire? Is a band of gold a safeguard against a change of heart? Of course not, yet millions want it anyway, a ratification of feelings that might otherwise seem slippery or intangible from the outside.

Guy Lodge Film Critic As directorial head-to-heads go, Jack Huston versus Stanley Kubrick isn’t anyone’s idea of a fair fight. But that’s exactly the clash the actor and Hollywood scion sets up for himself in his directorial debut “Day of the Fight” — named for Kubrick’s famous 1951 documentary short of the same title, and likewise following an Irish-American boxer through his daily New York routine, in the hours leading up to a climactic evening match.

My Mum, Your Dad is ITV's newest dating show. Dubbed as an adult version of Love Island, the official synopsis reads: "A group of single parents move into a house together as their college-aged kids try to pull strings from behind the scenes and give their parents a second chance at love." Last night, the show's host Davina McCall - who recently teased a celebrity version - presented the final episode after a consecutive two week run. However, despite the series being a hit with fans, viewers were left with two major queries.The last episode showed each kids' verdict on their parents' new relationships.

Guy Lodge Film Critic An Emmy-nominated documentary cinematographer with credits including “Procession” and “All the Beauty and the Bloodshed,” Robert Kolodny puts his expert eye for shooting nonfiction to playful narrative use in his feature directing debut “The Featherweight.” A meticulously designed, gutsily played biopic of world champion featherweight boxer Guglielmo Papaleo, better known as Willie Pep — covering not his 1940s glory days but his faltering attempt at a comeback two decades later — the film is convincingly fashioned as a candid all-access documentary, a promotional puff piece curdling before our eyes into an unintended study of mental breakdown. So convincingly, in fact, that uninformed viewers chancing upon “The Featherweight” on the festival circuit may wonder exactly what it is they’re watching, not least if — in a realization of Pep’s own glumly stated fears — they have no idea who this once-celebrated sportsman was.

Halle Berry is calling out Drake for using a 2012 photo of her without her permission to promote his new single, “Slime You Out”.

Guy Lodge Film Critic That perky exclamation point sets the tone for “Coup!,” a story of murder, class struggle, One Percent entitlement and a global pandemic that nonetheless unfolds with all the eager, scrappy energy of an off-Broadway musical, minus most of the songs. The pandemic in question is not the one you’re thinking of — Austin Stark and Joseph Schuman’s puckish comic thriller unfolds against the dire backdrop of the 1918 Spanish Flu — but it also sort of is, as its study of wealthy exceptionalism in a time of national crisis is clearly intended to chime with more recent memories of regimented distancing and mixed safety messages from on high.

Janette Manrara was left throwing daggers at her husband Aljaz Skorjanec after he made a cheeky swipe after two full days of working together on their next big project. The former Strictly Come Dancing professional dancers have recently been soaking up some family time after becoming first-time parents.

Guy Lodge Film Critic Unorthodox family structures yield correspondingly unpredictable drama in “Housekeeping for Beginners,” a vital, febrile multi-character study that further confirms writer-director Goran Stolevski as a talent to be reckoned with. Departing radically from the poise of his folk-horror debut “You Won’t Be Alone” and the gentle intimacy of its swift follow-up “Of an Age,” this study of domestic, romantic and generational conflicts in a crowded queer household instead embraces a spirit of antic chaos, both in subject matter and jagged, hit-the-ground-running execution.

Bebe Rexha is on the pink carpet at the 2023 MTV Video Music Awards!

Jeopardy! is officially back with brand new episodes tonight! However, it’s going to be a little different than in past seasons for avid fans.

Emiliano De Pablos Madrid-based agency Feel Sales has picked up worldwide sales rights to indie social drama film “Third Week,” by long term New York-based Catalan writer-director Jordi Torrent (“The Redemption of the Fish”). A U.S.-Spain co-production, the film is produced by Torrent, alongside Randy Simon, Maria Àngels Amorós and Toni Espinosa, for New York’s companies Duende Pictures and RFS Wolf Entertainment and Barcelona’s Toned Media.

Guy Lodge Film Critic Frank Marshall’s film “Alive” has never exactly been a classic, but for a certain bracket of moviegoers who saw it in 1993, it remains a vivid memory. A heart-in-mouth recreation of the 1972 Uruguayan Air Force Flight 571 crash — from which 16 people eventually survived 72 days stranded in a remote, snowy stretch of the Andes in western Argentina, while 29 perished — it visualized the events past the remit of worldwide news reports and magazine stories.

Everyone assumes Mathieu’s life is marvelous. He is a popular film actor, as evidenced by the waiters and receptionists who take it upon themselves to give an appreciative commentary on his film career as they serve the soup or sign him into a hotel. He is married to a celebrity news anchor. When he checks into a spa retreat in a seaside town otherwise deserted for the winter, he finds a glossy magazine with his face on the cover next to one of the relaxation chairs. The story inside has him talking about his marvelous life, in particular his forthcoming stage debut, with accompanying quotes from his highflying wife. This is the woman who was too busy even to say goodbye before he came here. But the worst of it is that he is there: He has pulled out the play. When it came to it, he was afraid to do something new. Nobody knows it yet, but he is a failure.

Guy Lodge Film Critic There will come a time, perhaps not even too far from now, when films like “Woman Of…” may feel, if not old hat, at least familiar, part of a genre unto itself: not a coming-of-age story but a coming-of-self one, tracing the particular life stages of identifying oneself as transgender, accepting oneself as such, and finally living that truth out loud. Spanning decades in its closeup portrait of a Polish trans woman traveling that trajectory in a social climate hostile to her very existence, Małgorzata Szumowska and Michał Englert’s heart-on-sleeve film isn’t aiming to be revolutionary — there’s an old-fashioned melodramatic heft to its episodic construction, setting its heroine’s tale in a pointedly mainstream context.

Guy Lodge Film Critic When Holly’s classroom peers call her “the witch,” she meekly shrugs it off. It’s not the least flattering slur with which the shy, soft-spoken 15-year-old has been bullied, and it beats people complaining about how she smells.

Guy Lodge Film Critic Though it’s become a convenient catch-all term for journalists covering the subject, the phrase “European migrant crisis” can’t help but leave a sour taste in the mouth — implying as it does that Europe, the destination for so many hard-up voyagers from variously ailing or hostile countries, is the disadvantaged party in all this. That bias carries through to the bulk of well-intended films on the matter, which tend to pick up migrants’ stories, however sympathetically, on European turf.

Guy Lodge Film Critic If we’ve learned anything from the last few years of polarized political discourse surrounding everything from gun control to gender identity, it’s that when somebody pulls out the “won’t somebody please think of the children” card, the children are rarely the first thing on their mind. Even as it plays out on a specifically Hungarian social landscape, the satire of Gábor Reisz’s astute, drily funny third feature “Explanation for Everything” — in which an underachieving high-schooler becomes a right-wing cause célèbre on the strength of some dicey tabloid reporting — resonates more widely.

Guy Lodge Film Critic About 20 minutes pass in “Enea” before someone asks the young, handsome, splendidly attired title character what he does for a living, during which time audiences are likely to be wondering the same thing. This, to be fair, is not a negligent omission in writer-director-star Pietro Castellitto’s script, which tells us early on that Enea, the elder son of a wealthy Roman family, ostensibly manages a high-end sushi restaurant, atop an assortment of more underhand dealings.