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Guy Lodge Film Critic“Don’t mess with the grand diva,” says 8-year-old Arjie, usually in private or under his breath, to a world determined to mess with him from all sides.

Guy Lodge Film Critic“Our work here is to change people’s vision,” says Jean-Marie Barbe, with a particularly French balance of passion and nonchalance, as if the mission he’s describing is both the simplest and most important thing in the world.

Guy Lodge Film Critic“Over the top” is a relative concept in the bludgeoning, unabashedly theatrical sport of mixed martial arts, which makes cartoon hero-villains of stars like Conor McGregor, even as their fighting gets grimily down-and-dirty. So it perhaps goes against the spirit of things to describe “Embattled,” a sports drama animated by a clear McGregor proxy, as a bit overblown.

Guy Lodge Film Critic“What if there’s no such thing as happiness, only moments of not being depressed?” So asks Jane, the paranoid schizophrenic heroine of “Eternal Beauty,” and it’s one of the more thought-provoking lines in Craig Roberts’ earnest but ungainly sophomore feature — a film that itself stumbles upon moments of clarity without ever finding a happy or consistent groove.

Guy Lodge Film Critic“Where are you going?” asks the young son of Boniface Mwangi, as his father heads out to work with a purposeful stride. “I’m going to topple the government,” comes the casual reply.

Guy Lodge Film Critic“And Tomorrow the Entire World” is a taut, headlong dive into a student Antifa commune in Berlin, whose residents gradually splinter over how to fight a rising tide of white supremacy. It was, per its press notes, originally conceived as a period piece by director Julia von Heinz, before she concluded that there was no need to do so.

Guy Lodge Film Critic“Wife of a Spy” is a debatable title on two fronts. The man in question may or may not be a spy, and while the female protagonist is certainly his wife, that passive, possessive phrasing undersells the degree to which she commands Kiyoshi Kurosawa’s thoroughly involving, old-school slice of wartime cloak and dagger.

Guy Lodge Film Critic“Miss Marx” is a biopic bookended by death, colored by it throughout. It introduces us to socialist activist Eleanor Marx at the funeral of her father Karl, and follows her through to her untimely suicide, at the age of 43, some 15 years later.

Guy Lodge Film Critic“These are the rules of the game, the law of desire,” Tilda Swinton sighs, playing an unnamed woman — who, let it be said, looks and speaks and dresses an awful lot like Tilda Swinton — whose lover has left her, and can only be bothered to say goodbye over the phone.

Guy Lodge Film Critic“Tenet” was already shaping up as the year’s premier event movie before a certain global pandemic turned it into something closer to a holy grail: an unknown, unattainable object of intrigue, its enigmatic allure intensifying as it moved further and further away on the blighted release schedule.

Guy Lodge Film Critic“Benjamin” opens on a film within a film, the long-awaited sophomore feature by thirtysomething Irish director Benjamin Oliver (Colin Morgan), whose once-clamorous career buzz has slowed to a murmur. The scene we’re shown looks promising enough: a tartly worded lovers’ argument between two men, one played by Benjamin himself, diffidently explaining his existential struggles with the very concept of romance.

Guy Lodge Film Critic“Life-changing” is the kind of hyperbolic descriptor thrown around all too easily in the world of publishing, but it could quite reasonably be applied to Naoki Higashida’s nonfiction bestseller “The Reason I Jump.” Written when Hagashida was just 13 years old, it’s a unique account of autistic spectrum disorder from the inside, giving voice to a community frequently described as “non-verbal” and dispelling multiple misconceptions about the way they see and feel the world

Sharon Liese's documentary follows the contrasting trajectories of four transgender children in Kansas City with engrossing, sometimes surprising results.

Inventive and infectious, TT The Artist's head-turning debut fuses the forms of documentary and music video to honor Baltimore's vibrant social fabric.

Liz Marshall's smooth, accessible documentary may change some minds as it unpacks the specifics of the slaughter-free "clean meat" movement.

In a genre heavy on outright gastroporn, Abby Ainsworth's polished documentary on Spain's celebrated Mugaritz restaurant inspires more curiosity than hunger.

Esmé von Hoffman's reimagining of the ancient Roman poet as a Detroit lothario has plenty of ideas, but no clear audience in mind for them.

Film critic and filmmaker Dan Sallitt's fourth feature tracks the ebb and flow of young female friendship with exquisite specificity and grace.

This SXSW-programmed French portmanteau comedy sends up the perils of online living to alternately sharp and slight effect.

A Bulgarian immigrant rails against Brexit-era Britain in Mina Mileva and Vesela Kazakova's thorny, thoughtful narrative debut.

Produced by Ryan Murphy, Chris Bolan's heart-clutching Netflix documentary looks back on a lesbian couple's storied 70-year romance.

A teenage murder case recently relitigated on social media is sympathetically traced in Daniel H. Birnam's urgently felt Netflix doc.

Uruguayan newcomer Lucia Garibaldi's coming-of-age drama has humid promise, but circles around its darkest psychological questions.

This unfussy eco-doc benefits from the earnest commitment of Javier Bardem as he joins Greenpeace in an Antarctic conservation mission.

Jacqueline Wilson's 2012 kids' book cleverly remixed a century-old classic; this mostly flavorless adaptation retains the least distinctive elements of both.

As studios and distributors continue to pull the theatrical releases of their films, and cinemas nationwide close their doors to the public, what becomes of film criticism in the time of coronavirus?