Happening

• Director: Audrey Diwan
• Writers: Audrey Diwan, Marcia Romano and Anne Berest
• Starring: Anamaria Vartolomei, Sandrine Bonnaire, Kacey Mottet Klein, Luana Bajrami

Grade: B+

A film about a woman’s search for an abortion could easily feel like a heavy-handed attempt at political relevance, but that is not what Happening is about. Rather, director Audrey Diwan’s sophomore directorial feature grounds its drama in its lead character’s dilemma. It’s no secret that reproductive rights have been a hot-button issue in America for decades, even after the passing of Roe v. Wade – ironically, I screened this film the night before the draft opinion was leaked that would essentially overturn the landmark case. That the film takes place in France in 1963 and still feels as prescient is no small feat.

Dual

• Director: Riley Stearns
• Writers: Riley Stearns
• Starring: Karen Gillan, Aaron Paul, Beulah Koale, Theo James

Grade: B-

In just a handful of feature films as a writer and director, Riley Stearns has firmly established himself as a connoisseur of dark, deadpan humor. But he uses this style of comedy to effectively explore surprisingly complex themes. 2019’s The Art of Self-Defense used its humor as a way to explore toxic masculinity and the ways it permeates our culture. Dual scratches the surface of bigger ideas, but is less successful in its execution. Stearns is unquestionably a unique voice in the independent film landscape today though, which earns Dual a certain amount of brownie points.

All the Old Knives

• Director: Janus Metz Pederson
• Writers: Olen Steinhauer
• Starring: Chris Pine, Thandiwe Newton, Laurence Fishburne, Jonathan Pryce

Grade: C-

Officially speaking, we’re out of the first quarter of the year of our Lord 2022. But All the Old Knives may as well have been released in the first quarter, when studios traditionally dump all their projects in which they have zero faith to make any lasting impact. This effect is exacerbated when a movie premiere on streaming services, when they can be buried amongst the platform’s endless library, which makes it harder for any film that’s barely promoted beyond an obligatory banner ad to make any lasting impact. Not that the film does itself any favors though, as it’s the kind of lazy genre exercise that barely justifies its existence.