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“Your name is Rosetta. My name is Rosetta. You found a job. I found a job. You've got a friend. I've got a friend. You have a normal life. I have a normal life. You won't fall in a rut. I won't fall in a rut. Good night. Good night.”   --Rosetta speaking to herself and responding to her own stronger self and making a personal resolve before falling asleep in the film T he Dardennes brothers constitute Belgium’s best gift to world cinema and are included on this critic’s best 15 active filmmakers from around the world . They are distinct from most other filmmakers for at least four reasons. One, they write their own original screenplays. Two, they choose subjects that relate to poverty, ethics, and social struggles to survive (similar to the works of English director Ken Loach, also on this critic’s aforementioned list ).  Three, the brothers work as a team (similar to the Italian Taviani brothers, also on this critic’s aforementioned list ).  Four, their use of extra...

D irector Praveen Morchhale is an emerging noteworthy filmmaker from India making films based on his own original scripts that use children in pivotal, non-controversial roles.  His films certainly cannot be classified as children’s films as these works, while tugging at the hearts of adult viewers, are essentially humanistic and philosophical in content that is relevant for viewers of all ages. His films are different in many ways from the average contemporary Indian cinema. The titles of his two films Barefoot to Goa (2013) and Walking with the Wind (2017) are in English, while the films are not in that language.  Spoken words are minimal though important, while visuals and documentary-like performances dominate.  Family values are underscored indirectly in both films. Both films exude positive thoughts, providing viewers with a breath of fresh air, not unlike the early works of the Iranian filmmakers Abbas Kiarostami and Amir Naderi. Director Morchhale, who has been i...

“ Nobody is who he was. Nobody will be who he is now ”  --lines spoken in the film, adapted from Jordan Harrison’s play Marjorie Prime , a finalist for the 2015 Pulitzer Prize and the winner of the 2016 Horton Foote Prize for an Outstanding New American play U S director Michael Almereyda made some fine decisions to make Marjorie Prime . He chose an amazing play that would only be enhanced by the tools of modern cinema, if used with restraint and class. He achieved that partly by scripting the film himself. His next winning decision was to retain actress Lois Smith in the role of the old Marjorie, a role she had played earlier on stage. The director’s next winner was the casting of actress Geena Davis as Marjorie’s daughter Tess and actor Tim Robbins as Marjorie’s son-in-law, Jon. The fourth bright decision was to choose the talented Mica Levi to contribute the original music of the film. All win-win decisions. T he film/play deals with real people interacting with holograms (“Prim...