Portside

Jayro Bustamante‘s debut feature “Ixcanul” generates its power from an intimate observance of the quotidian. As such, its titular volcano — the translation of Ixcanul in the Mayan K’iche’ dialect spoken in Guatemala — is the least volcanic thing in it. Steeped in a culture rarely observed on screen and filmed entirely in Kaqchikel, Bustamante’s film explores a clash between reproductive rights and tradition.

“Equity” is bracing, witty and suspenseful, a feminist thriller sharply attuned to the nuances of its chosen milieu. In setting and mood, it bears some resemblance to J. C. Chandor’s “Margin Call,” which similarly infused sleek and sterile corporate spaces with danger and dread. But unlike that film or Adam McKay’s “The Big Short,” Ms. Menon’s movie is not about the system in crisis. It’s about business as usual. Which is to say about corruption, deceit and treachery.

If “Captain Fantastic” doesn’t cram all of human experience into that box we like to call the dysfunctional family — a category that suggests that all anyone needs to get through Thanksgiving is therapy talk and a group hug — it’s partly because its characters have politics, not simply feelings. The Cash children stumble, but they’re supremely capable and self-aware. What makes them unusual isn’t their knife skills; it’s that they talk seriously about ideas.

Boal’s litigation is supported by the Reporters Committee for Freedom of the Press. “We firmly stand with Mr. Boal in his effort to protect these tapes,” says the organization’s executive director Bruce Brown. “Well-established law recognizes that journalists cannot do their jobs to keep the public informed if they cannot work free from government interference.”

The question is whether good film presents us a prettified view of the past or challenges us to realize that we are yet living with that past—and that, however comforting the desire to ignore it, we continue to pay a price for failing to own it. We owe the makers Free State of Jones a serious debt for giving us the opportunity to do that.

"Ludlow: Greek Americans in the Colorado Coal War" and "The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble" -- two new documentaries, both of them stunning not only in their execution but in their implications, raise all the critical issues about the worth of human life. One takes place in the violent coal mines of the Southwest a century ago, and another takes place today in many locales leading up to appearances in concert halls all over the world.

Much of Anne Fontaine’s blistering film “The Innocents” is set within the walls of a Polish convent in December 1945, just after the end of World War II. What at first appears to be an austere, holy retreat from surrounding horrors is revealed to be a savagely violated sanctuary awash in fear, trauma and shame. The snow-covered, forested landscape of the convent is photographed to suggest an ominous frontier that offers no refuge from marauding outsiders.

In essence, Wilderpeople is about an urban Maori (the indigenous people of NZ) juvenile delinquent type, Ricky Baker (the droll, roly-poly Julian Dennison), who is placed in a foster home somewhere out in the bush. There, he is begrudgingly adopted by “Uncle” Hec, a Caucasian ex-con and “bush man” played by the great Sam Neill.

'Indian Point' directed by Ivy Meeropol takes an unblinking look at the dramatic debate over nuclear power by going inside the aging plant that looms just 35 miles from New York City. With over 50 million people living in close proximity to the facility, it has stoked a great deal of controversy in the surrounding community, including a vocal anti-nuclear contingent concerned that the kind of disaster that happened at Japan's Fukushima nuclear plant could happen here,

British Film Institute-Flare: London LGBT Film Festival is 30. Over 100 programmers, critics and filmmakers voted for the 30 greatest LGBT films of all time.