Drama

The playwright Annie Baker’s first feature conceals its depth of experience under a narrow array of details.

The actor and comedian on his “Daily Show” breakthrough, writing the roles he wanted to see, and playing a new kind of character in “Evil.”

Molly Manning Walker’s first feature is empathetically centered on three teen-age girls whose lives it leaves unconsidered.

The Iranian director Mani Haghighi scrutinizes daily life in Tehran by way of supernatural events and inspired images.

Andrew Scott stars in Andrew Haigh’s metaphysical melodrama of an orphaned gay screenwriter’s yearnings for love and family.

An imposingly muscled Zac Efron dominates the film—he’s the center of its tightly channelled violence and its hearty vitality.

Apple’s glossy experiment in prestige melodrama is utterly baffling—and must-watch TV.

Becca Blackwell and Amanda Duarte play exuberant, boundary-pushing alter egos, and the Irish Rep revives Brian Friel’s stately “Translations.”

The airtight dramatic construction of Justine Triet’s courtroom thriller matches its prefabricated attitudes and moral incuriosity.

Kavich Neang’s “White Building” dramatizes private lives and public conflicts in contemporary Phnom Penh.

After the viewing of Jerzy Skolimowski’s “Walkover,” I felt the sting of other rare masterpieces that should be part of cinematic history.

The drama, starring Steven Yeun and Ali Wong, is a study of male loneliness—a familiar theme in prestige TV that finds renewed urgency in an Asian American context.

Ben Affleck’s pacy, adept portrayal of Nike’s pursuit of Michael Jordan, co-starring Matt Damon and Viola Davis, kneels at the altar of high capitalism.

At the heart of Alice Diop’s stunning courtroom drama, about a woman who is charged with infanticide, is the power of language to spark imagination.

The film’s nostalgia is incongruous with the contemporary social ills that it diagnoses.

James Gray traces the roots of a Queens sixth grader’s political coming of age to his secular Jewish family life.

An adaptation of Gaiman’s series is now a major hit on Netflix, topping charts across the globe. Plus, why so many Black candidates are running in the Republican Party.

Made on the eve of Sinatra’s nineteen-fifties comeback, it’s a flashy if shallow romp, with a surprising psychodramatic jolt.

Aubrey Plaza stars in a surface-level début about the world of credit-card crime.

It’s Vincente Minnelli’s first great film, and it’s Garland’s greatest.