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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.

Guy Lodge Film Critic The mythology around Japan as a nation of everyday ghosts — where the living and the dead share space, occasionally in view of each other — can lead certain western filmmakers into dubious territory: If you don’t recall how Gus van Sant floundered with the mawkish, condescending exoticism of “The Sea of Trees,” trust that it’s best forgotten. Centered on a long-grieving Frenchwoman who finally makes peace with her husband’s death over the course of a Japanese work trip, “Sidonie in Japan” risks similar pitfalls — but Élise Girard’s droll, bittersweet romance mostly dodges them with grace and good humor, plus a pointed awareness of the limitations of its outsider perspective.

Guy Lodge Film Critic It does rather feel as if the universe — or at least the French film industry — is trying to tell us something when 2023 has turned up not one but two loose Gallic adaptations of Henry James’s “The Beast in the Jungle.” That 1903 novella was about a man, John Marcher, who fails to fully live his life because he’s seized by premonitions of catastrophe that never visibly come to pass. It feels glumly relevant in an age of climate change, artificial intelligence and other obvious but indefinite signals of human demise; perhaps we should count this highly specific cinematic mini-trend as another.

Guy Lodge Film Critic It’s a failing of our society that we’ve allowed “interesting” to become a euphemism, a blandly veiled insult, something to say when no other praise comes to mind. Little in life is more important than interest: having it, attracting it, identifying it in any crevice of the everyday, making it strange and fresh in the process.

Guy Lodge Film Critic “The Promised Land” deserves a sexier title than “The Promised Land”: It’s hard to hear those well-worn words and not expect something as beige and starchy as the spuds grown on its titular terrain. It has one, in fact.

Guy Lodge Film Critic Among all working U.S. filmmakers, few have built as faithful and fervent a following of critics and cinephiles as Michael Mann.

Guy Lodge Film Critic Who does a documentary truly belong to — the people who make it, the people who fund it, or the people it depicts? On the face of it, the answer seems obvious: At a spiritual level, if not always a corporate one, we tend to think of art as the property of the artist. Yet in dusting off a long-languishing nonfiction feature from the 1970s that was taken from its stymied director by his bankrollers and sent to the vault, Andrés Peyrot’s thoughtful, mirror-holding doc “God is a Woman” makes a compelling case for the third option.

Naman Ramachandran Director Ira Sachs and lead Franz Rogowski discussed their film “Passages” at an exclusive screening in London on Friday. The screening was the first of a series of exclusive Q&A events curated by Variety in partnership with brand and culture consultancy BSBP targeted at BAFTA and AMPAS voters as well as key players in the showbiz community in the U.K., taking place at London’s The Cinema at Selfridges. Variety and BSBP teamed with film distributor, global streaming service and production company MUBI for the first screening in the series, “Passages,” written and directed by Sachs.

Leo Barraclough International Features Editor Variety has partnered with brand and culture consultancy BSBP to curate a series of exclusive Q&A screenings in London of some of the industry’s most anticipated films. The screenings, which are targeted at BAFTA and AMPAS voters as well as key players in the showbiz community in the U.K., will take place at London’s The Cinema at Selfridges.

Guy Lodge Film Critic More than one talking head in “The Issue With Tissue – A Boreal Love Story” uses the phrase “flushing away our forests,” to the point that it becomes a kind of aghast mantra for Michael Zelniker’s eco-documentary — tonally encapsulating its earnest exasperation with the world, or at least its human custodians. One can forgive the repetition, since the image is so pointed: Every year, vast stretches of Canada’s richly biodiverse boreal forest region are razed for that most literally disposable of causes: the manufacture of toilet paper.

Nick Vivarelli International Correspondent While it’s still uncertain how many U.S. movie stars will be attending the upcoming Venice Film Festival, the fest has announced a series of masterclasses to be held by top directors including Wes Anderson, Edward Berger, Damien Chazelle and Nicolas Winding Refn. Several of the Venice masterclasses are dedicated to helmers being lauded by the fest such as “The Night Porter” director Liliana Cavani, who is being celebrated with a Golden Lion for Lifetime Achievement, and Anderson, who will receive the fest’s Cartier Glory to the Filmmaker Award.

Guy Lodge Film Critic On the final weekend of a bustling 18-day event, the in-person edition of this year’s Melbourne Film Festival has drawn to a close with an awards ceremony that saw a whopping $300,000 AUD (over $191,000 USD) in prize money handed out across six categories. The biggest individual award of $140,000 AUD (nearly $90,000 USD) was presented to the winner of the fest’s international Bright Horizons competition: “Banel & Adama,” an arresting debut feature by Franco-Senegalese filmmaker Ramata-Toulaye Sy.

Clayton Davis Senior Awards Editor The French drama “The Pot-au-Feu,” one of the breakout hits at the Cannes Film Festival and one of the movies that could represent France at the Academy Awards, has received a new title, Variety has learned exclusively. Now under its new title — “The Taste of Things” – the movie will also have a qualifying run to be considered in all general categories, including best picture.

Guy Lodge Film Critic There is no unknown country in “The Unknown Country,” a gently meandering road trip through an America that even those of us directly unacquainted have traveled via the movies: Morrisa Maltz’s lovely second feature trades in the familiar imagery of unfettered highways ribboned through the great, grassy middle of nowhere, roadside inns outlined in humming hot-pink neon, gas stations slumped against the sparse landscape like oily oases. It’s the people building their lives along this route, however, that this sociable, inquisitive docufiction seeks to discover, as Maltz profiles the faces flashing by the driver only passing through.

Guy Lodge Film Critic The loose, lolling chapters of “The Girls Are Alright” are marked and separated by a simple visual motif: for each one, a different close-up panel of ornately illustrated Toile de Jouy fabric, rendered in various pastel shades against a calico background. The material’s distinctive period pastoral scenes, depicting gussied-up women in various states of passive repose and their corresponding noblemen, contrast pleasingly with the more modern, less dependent portrait of 21st-century femininity presented in Spanish writer-director-star Itsaso Arana’s short, sweet, winsome freshman feature. When its female characters don Toile-appropriate corsets and hoop skirts, it’s with a postmodern, literally performative sense of irony.

Guy Lodge Film Critic You have to admire the moxie of authors and filmmakers who set their science-fiction spectaculars in the very near future, essentially confronting viewers with what may seem a pretty outlandish forecast for their own lives. Those that pull it off present us with possibilities resonant enough to ponder, even when they’re too far-fetched to actively fear: So it proves in “Restore Point,” a sharp, high-shine sci-fi outing from the Czech Republic, in which earthly life after death is routine, a cellular rather than spiritual matter. Set in an unspecified (though Czech-speaking) central Europe in the year 2041, director Robert Hloz’s whopper of a calling-card debut may offer a more credibly subdued, budget-constrained visual of the mid-21st century than the lavishly built “Blade Runner 2049” — unless we’re in for a drastic design (r)evolution over the course of the 2040s — but its ideas are sky-high in concept. Marrying glossy mainstream genre aesthetics to probing, elaborately conceived speculative storytelling, this is a notably ambitious and auspiciously well-realized first feature for Hloz: the kind that appears to be flaunting his capabilities for even bigger international and Hollywood assignments.

Guy Lodge Film Critic In one fell swoop, 70-year-old widow Blaga Naumova goes from being cash-strapped to cash-stripped. All her life, she’s carefully pinched pennies to accumulate a modest cushion of life savings that she’s nonetheless never been sensible enough to put in the bank; decades of scrimping amount to naught when, in a moment of terrorized madness, she caves to the threats of a phone scammer and quite literally throws her very small fortune out the window. How could you be so stupid, everyone asks her, and many in the audience are likely to echo them. But Stephan Komandarev’s damning, despairing, riveting thriller “Blaga’s Lessons” sees things another way: In a post-communist Bulgaria where women like Blaga are legally bled dry by cowboys and corrupt institutions on all sides, how is she supposed to see the difference?

Guy Lodge Film Critic A lacquered Czech period piece with surprisingly topical interests at its core, “We Have Never Been Modern” rather ambitiously borrows its title from a key text by the late French philosopher Bruno Latour — in which he argued that humanity’s distinction between nature and our own culture is a wholly modern development, and one we’d do best to move away from. While Latour’s ideas can indeed be mapped onto a story that charts modern society’s fixation on human advancement against its rejection of human difference, Matěj Chlupáček’s gripping, gleamingly produced second feature isn’t as academic as all that: Ultimately a humane message movie planting flags for both women’s liberation and queer rights, this Karlovy Vary competition premiere could easily resonate with festival and arthouse audiences away from home turf.

Guy Lodge Film Critic The thing Aden likes about acting, he tells someone who cares enough to ask, is “how organized it is.” You know where you stand, quite literally, because someone tells you; you’re given things to say, and told how to say them. Order and certainty aren’t typically seen as benefits of the thespian calling, and even Aden doesn’t sound entirely convinced of his own words. But then Aden — played, in a performance of brilliant, diamantine versatility, by Nabhaan Rizwan — is never entirely convinced of himself, period, when he hasn’t a script to follow or a character to inhabit. A simultaneously playful and savagely pointed satire from first-time feature director Naqqash Khalid, “In Camera” traces how its young British-Asian protagonist’s sense of identity is progressively diminished by the cynicism and tokenism of the industry he’s trying to crack — though as it turns out, when you lose yourself entirely, all is not lost.

Guy Lodge Film Critic In their 2018 film “The Dead and the Others,” directors João Salaviza et Renée Nader Messora turned their lens generously to the Krahô people of northeast Brazil, documenting a longstanding way of life under threat from developers and politicians, and giving their non-professional subjects ample leeway for improvisation in presenting themselves on screen. Their ambitious, formally limber follow-up “The Buriti Flower” resumes their study of the Krahô, but with an expanded scope, as it examines ideological and generational conflict within the tribe: protectively insular tradition on one side, outward-facing activism on the other. Blending candid vérité with extravagant flourishes of fiction, the film sees its helmers sharing screenwriting duties with a trio of Krahô locals, and feels more textured for their collaboration.

Guy Lodge Film Critic “I love downtown Recife,” narrates Kleber Mendonça Filho over self-shot footage of his hometown’s dilapidated center, its once-promising clusters of midcentury high-rises now graying and under-occupied. He admits that he considered cutting that line from his voiceover, deeming it redundant, before letting it stand: “You should say when you like someone.” In “Pictures of Ghosts,” a stirring, idiosyncratic ode to the city — and cinemas — that raised him, the Brazilian filmmaker duly wears his heart on his sleeve, raking through the domestic and public spaces that made him the artist he is today, and making his affection and gratitude for them known. In so doing, he remembers the larger communities sustained and abandoned by an evolving national cinema culture, making for a documentary that feels acutely, even eccentrically, personal, but never navel-gazing.

Guy Lodge Film Critic On the face of it, Grégoire is the kind of husband that makes many a woman wish hers would shape up a bit. He’s tall, strong and stylish, with a job in banking that comfortably pays the bills, and the sculpted good looks of, well, the actor Melvil Poupaud — who plays him with enough upfront charm to cover a slight chill at the edges. All that, and he dotes on his wife Blanche (Virginie Efira), insisting on a degree of togetherness that makes clear his fidelity. Those observing more closely, however, may have other concerns: Why is he constantly calling her at work? Why does she never go out with friends? That he’s a psychotic abuser isn’t played as a surprise twist in Valérie Donzelli’s nervy, finely acted domestic thriller “Just the Two of Us” — even as it dabbles in genre tropes, the film presents an all-too-unremarkable reality for many women.

Guy Lodge Film Critic Queer history is an act of excavation. Telling stories about the LGBTQ+ community — and of transgender people in particular — necessarily requires sifting through archives that are outright hostile to those they document. In “The Stroll,” a new HBO documentary directed by Kristen Lovell and Zackary Drucker, the filmmakers excavate decades’ worth of images to tell the story of trans sex workers in the Meatpacking District of New York City. Ostensibly a slice of local history of an increasingly gentrified city that sees marginalized folks as handily disposable, “The Stroll” is an empathetic portrait of a community still fighting for its own survival. The film opens on footage of a young Lovell, taken from the 2007 doc “Queer Streets,” in which she speaks about how she first turned to sex work to make money — more money, in fact, than what she made at her day job. Her eyes are a bit glazed and she keeps looking away: ashamed, perhaps, of what she’s matter-of-factly describing. We then witness the filmmaker, all these years later, assessing those shots in an editing bay where she further explains how she was likely on cocaine when she had cameras following her close to two decades ago.

Manori Ravindran Executive Editor of International Christian Petzold’s Silver Bear winner “Afire” has received a new trailer. The drama follows writer Leon (Thomas Schubert) and photographer Felix (Langston Uibel) who are surprised by a mysterious young woman named Nadja (Paula Beer) staying as a guest at Felix’s family’s holiday home by the Baltic Sea. Nadja distracts Leon from finishing his latest novel and, with brutal honesty, forces him to confront his caustic temperament and self-absorption. As Nadja and Leon grow closer, an encroaching forest fire threatens the group. Meanwhile, tensions escalate when a handsome lifeguard and Leon’s tight-lipped book editor also arrive.

Guy Lodge Film Critic Films about fictitious great writers often stumble when it comes to the character’s actual writing: Viewers must suspend disbelief that a lofty literary reputation has been built on the purplest of screenwriter-devised prose. A blackly comic melodrama in which writerly ego, ambition and insecurity do increasingly destructive battle, “The Lesson” gets around that trap by folding questions of authorship into its arch country-house mystery: Who is writing what, and to what extent it matters, are the questions that keep director Alice Troughton and screenwriter Alex MacKeith’s mutual debut feature interesting, even as it slides into occasional, overheated cliché. When the film’s own words don’t quite pass muster, however, a tight, tony ensemble of actors gives them some polish and punch. A big, ripe turn by Richard E. Grant — as a celebrated British novelist looking to emerge from a gloomy hiatus with one more masterwork — represents the chief selling point of this low-key Tribeca premiere, though as his wary potential protégé, it’s Irish up-and-comer Daryl McCormack (fresh off his BAFTA nomination for “Good Luck to You, Leo Grande”) who carries the bulk of the film in quieter, wilier style. With a chablis-dry Julie Delpy playing intermediary in their passive-aggressive duel, this U.K.-German co-production is the kind of accessibly upscale fare more frequently served to its target audience in another European language; Bleecker Street will release it Stateside.

Guy Lodge Film Critic “She’s 100% a professional, and this is a great night for professionals,” said the actor Juliet Mills as she accepted Glenda Jackson’s first Best Actress Oscar on the absent winner’s behalf at the 1970 Academy Awards. On the face of it, it sounds an oddly impersonal thing to say in the circumstances — almost as if Mills knew nothing of Jackson, and opted for the vaguest praise possible. (In fact, it was probably a veiled dig at that year’s Best Actor winner, George C. Scott, who had rather more acrimoniously declined to attend the awards.) It proved, however, a rather apt way for Jackson, then 34, to be welcomed into Hollywood’s inner circle. A proudly working-class Brit who didn’t look or act (on screen or off) like the blushing English roses typically imported from across the pond, Jackson had markedly more interest in being a professional actor than in being a movie star. That spared her, even as she racked up assignments and awards, much of the fuss and frippery associated with A-list status — going to the Oscars included. (She was a no-show each of the four years she was nominated, but did turn up once to present Best Actor. A pro indeed.) And when, in middle age, she tired of acting altogether, she quit as unassumingly as she arrived — instead entering British politics with a sense of liberal-minded duty uncommon in the ranks of celebrities-turned-statesmen.

Elsa Keslassy International Correspondent Sapan Studios and IFC Films have acquired U.S. rights to “The Pot-au-Feu,” Trần Anh Hùng’s (“The Scent of Green Papaya”) lush gastronomy-themed romance which competed at the Cannes Film Festival and won best director. The movie is headlined by two of France’s biggest stars, Juliette Binoche and Benoit Magimel, who won this year’s Cesar Award for “Pacifiction.” “The Pot-au-Feu” was produced by Olivier Delbosc at Curiosa Films and is represented in international markets by Gaumont.  The movie is one of the first titles co-acquired by Sapan Studios and IFC Films as part of their output deal. Sapan Studios is a new TV and film production/distribution company run by former AMC Networks CEO Josh Sapan.

Guy Lodge Film Critic By the brazenly esoteric standards of Argentine director Lisandro Alonso, his last feature “Jauja” was virtually a concession to the mainstream. A lushly shot 19th-century historical drama led by Viggo Mortensen, it was — until a typically disorienting coda — close to linear in its colonialist-quest narrative, even as it moved in slow, ever-widening circles, and duly became Alonso’s most widely released film to date. Nine years later (the longest gap yet in a career taken at his own pace), Alonso’s follow-up “Eureka” playfully appears to mock whatever tentative gestures “Jauja” made toward accessibility: A glisteningly opaque meditation on Indigenous living that refracts viewers’ interpretations as it repeatedly switches gear, focus, locus and story, it’s a film built to frustrate those who don’t succumb to its oneiric spell, not that it especially imparts its secrets to those who do.

Guy Lodge Film Critic One night before the winners in the Cannes Film Festival’s main Competition are announced, the festival’s second-most prestigious awards ceremony is currently under way, with Un Certain Regard jury president John C. Reilly and his fellow jurors Paula Beer, Davy Chou, Alice Winocour and Émilie Dequenne announcing their picks from a lineup that includes such breakout titles as Rodrigo Moreno’s “The Delinquents,” Molly Manning Walker’s “How to Have Sex” and Warwick Thornton’s Cate Blanchett starrer “The New Boy.” Updating list of winners below: Best Director: “The Mother of All Lies,” Asmae El Moudir Freedom Prize: “Goodbye Julia,” Mohamed Kordofani Ensemble Prize: “The Buriti Flower,” João Salaviza, Renée Nader Messora, cast and crew