Richard Linklater’s “Nouvelle Vague” is a love letter to the French New Wave, Dan Webster says.

Clint Bentley’s “Train Dreams” is a visual meditation on loss, the nature of grief and the healing power of nature, Dan Webster says.

Jafar Panahi’s Palme d’Or-winning “It Was Just an Accident,” now playing at the Magic Lantern, follows one man’s tireless attempts to justify revenge. Nathan Weinbender says it’s a propulsive thriller and a blistering rebuke of the Iranian government.

In The Mastermind, Josh O’Connor is a 1970s family man who briefly moonlights as an art thief. Nathan Weinbender says this quiet, low-key drama is one of director Kelly Reichardt’s best.

Rebecca Miller’s 5-part Apple TV series “Mr. Scorsese” is an entertaining crash course in the revered director’s work. It may be preaching to the converted, Nathan Weinbender says, but the women in Scorsese’s life offer some fresh insights.

Ari Aster’s violent comedy Eddington has only been out for a week and it’s already the most divisive film of the year. Nathan Weinbender says it’s got a lot of ideas but doesn’t add up to much.

Julianne Moore plays a desperate mother and Sydney Sweeney is her troubled daughter in the neo-noir “Echo Valley.” Nathan Weinbender says the film, streaming on Apple+, is a well-made diversion that could have been a lot more.

Inspired by expansive lists recently published in the New York Times and Rolling Stone, Nathan Weinbender picks his 10 favorite films of the 21st century so far.

“Materialists” is Celine Song’s follow-up to the critically acclaimed darling “Past Lives.” It looks like an all-star rom-com, but Nathan Weinbender says its looks are deceiving.

Every year, the Seattle International Film Festival brings hundreds of movies of all kinds to the Puget Sound. Nathan Weinbender gives his first overview of some of the best titles that the festival has to offer.