The great Japanese artist Hokusai (36 Views of Mount Fuji) had a daughter who was his apprentice and later his nurse. This recent film shows how she struggled to find her place as a daughter, artist, and woman in The Floating World of Ukiyo-e , 18th century Japan. The Japanese dialogue is wonderfully sparce but rich. Directed by Taku Katô—using lovely, saturated cinematography which gives context to the great acting in this film—Kurara illustrates how love, and art, and family do not go gentle into that good night.

Colorado, 1978. Young Finney is abducted by the “Galesburg Grabber,” a Gacy-esque masked villain. In captivity, the Grabber’s victims call out to Finney (literally) on a disconnected telephone, posthumously sharing their failed survival strategies with him. Make no mistake: this story isn’t about The Grabber. It’s about the importance of male survivors’ voices. Truly, the horror at the heart of The Black Phone is the statistic it circles without disclosing: 1 in 6 men are victims of childhood sexual assault. Beyond the basement, into the audience, some are still awaiting rescue: for them, the phone’s still ringing.

One of the only NYC movies that made me feel like I was heading to my unglamorous, low paying job in Times Square. Director Ramin Bahrani and cinematographer Michael Simmonds use their limited budget to capture the city with an honest, simple, naturalistic style. They depict our sisyphean hero's struggles with just as much honesty and care. Ahmad is a Pakistani ex-rockstar who scrapes by as a breakfast cart vendor. It’s refreshing to watch a movie about the working life that doesn’t romanticize, idealize, or pound our faces in with spoon-fed ideology. Looking for a cinematic hug? Look elsewhere.

A Christmasy Hammer crime movie. That sentence should be enough. Cash on Demand proves that if your story has a strong foundation, you don’t need any frills. You hardly need a budget. Beyond the thrill of the heist is the tale of a bank manager who keeps his emotions locked up in an impenetrable vault (like the money he’s responsible for), and a clever thief who has an earnest interest in his fellow human beings (despite his willingness to torment them for his own gains). A suspenseful little human drama that feels festive without bashing our heads in with it.

You should be the someone watching Lauren Hutton absolutely nail her role in Someone’s Watching Me! She’s endearing as hell in this made-for-TV horror/thriller about a somewhat lonely but upbeat woman named Leigh who is relentlessly harassed by an anonymous stalker. Ya know how sometimes characters feel hollow, like they’re just around to flaunt some writer’s agenda? Ain’t so here thanks to great performances and a balanced screenplay giving us people, not sounding boards. Watch this at night with some popcorn, the lights turned down, and the curtains open wide.

What could have been a humorous buddy flick focusing on the zany antics of two quirky criminals becomes a response to films that idealize just that. It’s a deeper look into the life and times of two low level thugs, one an erratic narcissist and the other a hypersensitive, vengeful, selfish man who is something of a heroic figure in his own mind. But May doesn’t make it easy for us, she humanizes (without romanticizing) them every chance she gets. Some of the best performances I’ve ever seen. It’s a gorgeously lived-in movie, like a quality pair of old jeans.

Five doctors go backpacking in the remote Canadian wilderness. All is (relatively) well until their boots vanish. But vulnerable feet are just the beginning—they’re being hunted. Relationships are strained, past traumas resurface, and tough decisions are made as the pals fight to survive. There's incredible chemistry between the group thanks to convincing performances and witty dialogue. Hal Holbrook shines as on-the-verge-of-burnout idealist, Harry. Despite an uneven finale, you’ll be gasping for breath as you watch these men struggle against things they are underprepared to deal with. Had me ready for my own little therapy session. Also, someone quotes Yeats.

A couple’s self-isolation to avoid modern-day contamination leads to the husband’s existential crisis after he exhausts his interest in music. His wife joins him in derelict Detroit from half a world away to reengage their marriage. They find minimal peace until her sister unexpectedly shows up, and very reluctantly drags them back into the world with deadly consequences. Despite their own social distancing the outing turns deadly. Oh, and they’re vampires. John Hurt portrays their friend, completing an excellent cast to Jim Jarmusch’s 2013 very odd, satisfying film where hard, pointy choices are made.

The Berlin Wall serves as a fitting backdrop for this frenzied psychological drama/horror about a fragmented marriage. Here you’ll find doppelgangers, improperly used electric knives, dead dogs (gods?), crises of faith, and a skeleton in the closet to end all skeletons in the closets. Demoniac performances imbue Possession with a mythic energy—Adjani justifiably gets most of the love, but Neill and Bennent more than hold their own. The whole ordeal is relentlessly fraught with anxiety and impending doom from its distressing opening to its apocalyptic final act. Set aside some recovery time.

Sidney Hayers gave us the best adaptation of Fritz Leiber’s Conjure Wife to date with Night of the Eagle. Written by legends Charles Beaumont and Richard Matheson (with contributions by George Baxt), this 1962 horror centers around a sociology professor who discovers his wife is a witch—and that ain’t all, she’s been protecting him against the evil magic of his jealous colleagues. Will his rigid skepticism destroy them both? Stark lighting and dramatic cinematography draw you into the action. There’s lots to dissect, from gender politics to perception vs reality, but I love this as a relationship story.