What makes Apollo 11 stand out is its sharp minimalist approach, allowing the archival footage of the mission to the moon to speak for itself. It’s stunning to think that at one point or another we had collectively seen a bulk of the footage in this film, and yet somehow let it lay dormant until the moon landing had been reduced to black and white stills in our collective imaginations. Not only does this film reinvigorate the moon landing with the power that it once held, but it does so in a way that is more thrilling than anything the Marvel CGI wizards could muster. The vibrant score adds a layer of ferocious tension, while the breakneck pace gives the feel of a rollercoaster ride. If there is any fault to find here, it is most definitely with the film’s MAGA style yearning for a time and place that never existed. Spare us the teary-eyed patriotism and the clips of Nixon, a disgraceful criminal, and vile racist, yammering on about the world becoming one. Nevertheless, this is a fantastic example of why most biopics should just be documentaries and why the fanatical fear of spoilers is a tad silly. Spoiler alert: they land on the moon.

Mark Ruffalo, Anne Hathaway, and Tim Robbins star in this well-executed and eye-opening drama based on a true story. Robert Bilott (Ruffalo) is a successful corporate lawyer in New York. He is visited by a distressed farmer from his hometown in Cincinnati whose cows have been developing strange behaviors and diseases. Robert decides to take on this case in what will become one of the biggest class-action lawsuits in the country: the use of cancerous chemicals by the company that commercializes Teflon (the stuff in pans). Excellent acting in an incredibly frustrating but necessary story that will trouble you more than any other legal thriller you have watched in the past: prepare to be outraged (and throw away your pans).

Tunisian director Kaouther Ben Hania’s new movie is about an arrogant European artist who tattoos a Syrian man’s back, essentially turning the man’s body into artwork. 

The man, as a commodity, is able to travel the world freely to be in art galleries, something as a simple human with a Syrian passport he couldn’t do. Seems unlikely? It’s based on a true story.

But Ben Hania is not really interested in the political statement aspect of this unlikely stunt. Instead, she looks at what this would do to a human-being, to the man’s self-esteem, his relationships, and the turns his life takes. It’s a fascinating movie.

The Swimmers tells the true story of sisters Yusra and Sara Mardini (played by fellow sisters Nathalie and Manal Issa), Syrian swimmers trained to compete at the Olympics. When their athletic goals and overall safety are threatened by the increasing presence of war, the girls decide to take a chance and migrate to Europe, where they hope to live out their dreams and reunite with their family someday.

The Swimmers is a touching family drama that does right to center on the love and tension between the siblings. Yusra and Sara’s relationship perfectly encapsulates the envy and resentment but also the deep love and loyalty that are present in every sister bond. It’s tender in these moments, but it can also be equally searing—as a refugee drama, it chillingly tracks the complicated and inhumane processes of fleeing one’s country for a safer future.

In 2017, the New York Times published a groundbreaking report by Jodi Kantor and Megan Twohey that detailed, for the first time, Harvey Weinstein’s atrocious history of sexual abuse. The New Yorker would release Ronan Farrow’s report five days after, prompting multiple survivors to share their own stories—and the rest, as you know, is history. Following Kantor and Twohey (played by Zoe Kazan and Carey Mulligan, respectively), She Said sheds light on how this pivotal moment in the establishment of the #MeToo movement came to be.

Based on Kantor and Twohey’s book of the same name, the film reveals the specific journalistic processes involved in writing this expose—a seemingly impossible feat, considering Weinstein’s hold over multiple industries, including the press. Because it’s a newsroom drama, there’s a lot of talking, but there’s also a lot of listening. Gripping, empathetic, and (even now) necessary, She Said makes for a thrilling watch.

As a crime thriller, Holy Spider is taut and terrifying, a modern noir that manages to unnerve despite the familiar moves it employs. The cat and mouse chase between serial killer and investigative reporter, for instance, is a classic tale, but that doesn’t make Holy Spider any less gripping. The film benefits from artful camerawork, considered acting (as the daring journalist Rahimi, Zar Amir Ebrahimi nabbed the Best Actress award at Cannes), and most of all a nuanced take on the situation in Iran. 

Despite having a clear stance against violence and corruption, nothing in Holy Spider is black and white. Contradictions abound, and even when presented with brief moments of justice, we’re left scratching our heads looking for more. Such is the case when the system, and not just an individual, is the true pest. 

Part documentary yet part surreal daydream, director Derek Jarman’s final film is one last rallying cry into a blue void. Against an unchanging screen of International Klein Blue, most of the film is Jarman’s voice, drifting through various subjects, from day-to-day complications of AIDS to contemplations about the color blue. Some of his frequent collaborators chime in. Choirs singing about damnation occasionally pop up too. While essentially a radio drama, the combination of voices, foley, and scores all merge together into an ethereal, haunting soundscape, that sticks in your head long after the film ends. Mirroring his partial blindness, Jarman’s last experiment leaves an impression of his own experience. It’s absolutely devastating.

Long before we became accustomed to oxymorons like “scripted reality” shows, there was a time when viewers could expect to trust what they saw on TV. One of the pivotal events shattering that illusion in the US was the 1950s quiz show scandal, in which producers of popular broadcasts like Twenty-One were revealed to be feeding contestants the answers in advance in order to manipulate audience ratings. 

Robert Redford’s Quiz Show is an engrossing chronicle of the investigation that blew the lid on Twenty-One’s fixing, revealed when disgruntled champion Herb Stempel became a whistleblower. Stempel (played with nervous brilliance by John Turturro) was pressured to flunk a no-brainer question to make way for golden boy Charles Van Doren (Ralph Fiennes), a ratings-friendly photogenic academic from a prominent WASP-ish family. What’s so sharp about Quiz Show is that it doesn’t just recreate the scandal for drama’s sake: it needles in on the greed and privilege that drove the fraud, paying particular attention to Van Doren’s angle of the morality play, the influence of his class and ethnicity, and the secret hand the show’s studio and sponsor had in the whole affair. In an era when practically anything goes in the name of entertainment, this interrogation of TV’s corrupt origins feels ever-relevant.

A family-friendly, Disney-backed movie is not something you’d expect from cinema’s surrealist master, but The Straight Story marks a surprisingly winning stylistic departure for David Lynch. It tells the true story of Alvin Straight (Richard Farnsworth), an ailing 73-year-old who, upon hearing that his estranged brother has suffered a stroke 240 miles away, decides it’s time to patch things up. Unable to drive due to poor eyesight, Alvin modifies a ride-on lawn mower and sets off on the six-week-long journey it will take to reach his brother while traveling just five miles an hour.

Lynch’s film is set at a similarly patient pace: contemplative shots of Mid-Western America’s cornfields fade in and out as Alvin chugs along and experiences profound, fleeting connections with the strangers crossing his path. Alvin refuses to accept any offers of a ride: he wants to finish this pilgrimage on his own terms. Angelo Badalamenti’s elegiac score emphasizes just how much this journey means to Alvin — who, in his last chapter of life, uses it both to reflect on all that’s come before and treasure every experience, big or small, that the present offers. The sense of this being a swan song for Alvin is always palpable, making The Straight Story deeply moving down to its bones.

In The Beasts, the idyllic semi-retirement that a French couple seeks in the Galician countryside — growing organic vegetables, fixing up abandoned farmhouses — devolves into a terrifying slow-burn nightmare. This beautifully shot yet spiritually ugly thriller plunges us straight into an atmosphere of crackling social tension that never abates. We begin after the event that turns local farmer Xan (Luis Zahera) and his brother Loren (Diego Anido) against French transplants Antoine (Denis Ménochet) and Olga (Marina Foïs): the latter two have vetoed the sale of land to a wind turbine company in favor of preserving the village’s rustic character. Incensed by what he sees as the theft of his birthright by an outsider, Xan orchestrates a steadily intensifying campaign of terror against the couple.

Though much slighter than the physically imposing Ménochet, Zahera makes for a profoundly menacing presence, and Xan’s seemingly endless appetite for hostility and vindictiveness charges the film with a deeply unsettling sense of inevitability. His performance alone would mark The Beasts as a standout, but an unexpected switch in character focus late on in the film wrests it out of Xan’s grasp and reorients the movie as a study of grim resolve — making it a film of two equally remarkable halves.