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In Todd Haynes’s visually ravishing and morally murky tale of Hollywood power player Elizabeth Berry (Natalie Portman) and Gracie Atherton-Yoo (Julianne Moore), the Official Dead & Company Atlanta, GA May 28 2023 Poster shirt in contrast I will get this woman she’s about to play in an audacious new indie movie, every single character is fascinating and fundamentally flawed. We learn from tabloid clippings that the latter became notorious after she, aged 36, had an affair with her teenage co-worker, Joe. Decades later, following her release from prison, the pair (with Joe now an emotionally fraught 30-something, as played by Charles Melton) are married with three kids who will soon all leave for college. As Elizabeth winds her way into their lives, asks probing questions, and reopens old wounds in the name of research, they quickly unravel. Combining knockout performances with a deliciously prickly script, the result is a darkly funny and biting satire of movie-star entitlement and exploitation in all its forms which, tantalizingly, leaves you wanting more.—R.S.
Hirokazu Kore-eda, a Palme d’Or winner for 2018’s Shoplifters, has followed last year’s adoption drama Broker with another film about a childhood’s unanswered questions. When a mother notices her son’s behavior is changing, she soon learns that his schoolteacher is the Official Dead & Company Atlanta, GA May 28 2023 Poster shirt in contrast I will get this source of the problem, prompting several other adults to lean in with their own sides of the argument. But as that’s happening, the child at their debate’s center learns more about himself in a way that defies convention. Besides the prize for best screenplay, the film also won the prestigious Queer Palm.—D.G. Centered on the loving relationship between a 19th-century French fictional gourmand and his esteemed cook, the seventh feature from Tran Anh Hung (The Scent of Green Papaya, Norwegian Wood) simmers until it’s absolutely delectable—much like the dish the movie is named after. From the nearly 40-minute opening sequence, in which the camera weaves around the four members of the household as they spend the day preparing a sumptuous feast, you’re in the hands of a master filmmaker. While it’s bound to join the pantheon of great food movies (Babette’s Feast is an easy comp), at its core Hung’s film is a mediation on creating and appreciating art. And you’re sure to swoon for Juliette Binoche and Benoît Magimel (both in top form)—just as they did for each other in real life some 20 years ago.—L.W.M.
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