KRVS

Mark Jenkins

The distinctions between human and animal, alive and dead, and even mobile and inert are fluid in November, an adult fairy tale that's as earthy as it is lyrical. The movie's central story, a tortured-love triangle, is slight. But the context is fascinating and the visual style bewitching.

The first characters to enter the silvery black-and-white landscape of the film are a wolf — later revealed to be a shape-shifting human — and a kratt, a creature constructed of farm implements and an animal skull and brought to life by a blood pact with the devil.

The heroine of Double Lover suffers chronic abdominal pain, but an exceptionally revealing trip to the gynecologist indicates no physical cause. Perhaps it's all in her head, so Chloe (Marine Vacth) is referred to a psychiatrist. That medical judgment turns out to be faulty, but viewers will sympathize with the doctor who made it. It might seem that the entire movie is in Chloe's head.

What is love?

That query proves even more complicated than usual in Before We Vanish, Japanese director Kiyoshi Kurosawa's engaging if messy, and overstuffed, 20th feature. It's a riff on Invasion of the Body Snatchers that meanders from action to satire to romantic affirmation.

The chain-smoking, beer-swilling protagonist of A Ciambra is a one-man crime wave. When his father and older brother are arrested, Pio takes responsibility for supporting his entire Romani-Italian clan by stealing and hustling. Pio is observant, audacious, and quick-witted, yet has a few weaknesses: He can't read, and is terrified of elevators and trains. Also, he's only 14.

The first half hour of The Final Year is as pointlessly hectic as one of those action movies that's all incidents and no plot. But gradually documentarian Greg Barker's look at Barack Obama's foreign policy team comes into focus, thanks in large part to the counterpoint played by the Trump campaign.

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