Mona Fastvold’s The Testament of Ann Lee is a fearless, one-of-a-kind experience. Ann Lee, the leader of the Shaker Movement, a restorationist Christian sect founded in the 18th century, was a fascinating and controversial religious figure. Fastvold’s decision to tell her story through a musical lens adds another layer of intrigue and creative risk. The Testament of Ann Lee is a bold swing from Fastvold; it’s an ambitious, unconventional biopic bursting with ideas that don’t quite cohere into a fully satisfying whole.

William Shakespeare’s Hamlet has graced the silver screen in many forms for decades, whether it was Laurence Olivier’s 1948 classic or Michael Almereyda’s 2000 adaptation that moved the story to contemporary New York City. But never before has a film recontextualized and transformed the way audiences perceive the story of Hamlet quite like Chloé Zhao’s adaptation of Maggie O'Farrell’s award-winning novel Hamnet.

With Hedda, Nia DaCosta is at the top of her game. This reimagining of Henrik Ibsen's renowned 1891 play Hedda Gabler puts a sapphic spin on the story. It’s a provocative, tempestuous power play about a lavish gathering gone awry.

At one point during Clint Bentley’s film Train Dreams, a character ponders, “Beautiful, ain’t it? All of it. Every bit of it.” That line perfectly sums up not only the film, but also life itself. Train Dreams isn’t just beautiful, it’s one of the most visually breathtaking films of the year. All of it. Every bit of it. From the warm, joyous moments to the devastating disasters and even the insubstantial bits in between.

Remaking a cult classic is always a gamble, but Yorgos Lanthimos’ Bugonia proves it can be done with reverence and creativity. Instead of making a carbon copy of Jang Joon-hwan’s 2003 film Save the Green Planet!, screenwriter Will Tracy delivers a thoughtful and imaginative reinterpretation. The film honors the spirit of the original while carving out its own identity. Bugonia will likely satisfy both fans of the original film and moviegoers encountering this wild story for the very first time.

Noah Baumbach’s Jay Kelly is a mixed bag, oscillating between entertainment industry satire and dramatic character study. Sometimes the film feels self-indulgent, other times accessible and crowd-pleasing. It’s fitting that the film begins with the Sylvia Plath quote, “It's a hell of a responsibility to be yourself. It's much easier to be somebody else, or nobody at all.” It’s a sentiment that’s echoed throughout the film when movie star Jay Kelly (George Clooney) responds to a question about how he always plays himself in movies with, “Do you know how difficult it is to be yourself? You try it." It’s fitting because Baumbach’s film feels like it’s having an identity crisis, unsure of what type of movie it wants to be or which direction to go in.