内容摘要：was held this month in the Brazilian state of Amazonas and an opinion is expected by the end of the year.

was held this month in the Brazilian state of Amazonas and an opinion is expected by the end of the year.

Edebiri hides in a bathtub in “Opus.” (Anna Kooris/A24 via AP)Edebiri hides in a bathtub in “Opus.” (Anna Kooris/A24 via AP)

Part of the problem is it’s not clear what kind of artist he is — a guitar hero? A dance savant? A Lady Gaga-like explorer? Fascinatingly, TV on the Radio’s 2008 song “DLZ” is heard over the final credits, nothing original. If you don’t have the goods, why even make this film?As if you didn’t already know, not everyone will leave this remote New Mexican compound, where the guests are under constant surveillance, cellphones and laptops have been confiscated, and workers have curious scars. “This whole thing is a trip,” one says. It gets weirder: Moretti insists all pubic hair be removed. And there’s something with oysters.Green wobbles as he tries to land this plane and what had been an intriguing premise to talk about fame and the parasitic industries that live off it turns into a gross-out, run-for-it bloodfest and a plot that unravels. It becomes what it intended to satirize — a pop spectacle.

“Opus,” an A24 release in theaters Friday, is rated R for “violent content including a grisly image, language, sexual material and brief graphic nudity.” Running time: 103 minutes. One star out of four.There’s rage simmering inside Killian Maddox, the amateur bodybuilder portrayed by

at the heart of the dark and stylized film

It’s a kind of “Taxi Driver” for the incel age, a harrowing portrait of untreated mental illness, violence, false idols, steroids and male loneliness. There was, from the beginning, lots to discuss and debate in the fabric of “Magazine Dreams.” But in the two years since it debuted at theShula is driving home from a fancy dress party one night when she encounters an unusual sight in the middle of a country road: her Uncle Fred’s dead body.

But Shula, portrayed by Susan Chardy, does not behave in a way that we would expect. She doesn’t cry out in horror or appear the least bit upset or shocked by the sight. Instead, we sit there with her in silence, her in sunglasses and a silver helmeted mask adorned with sparkling rhinestones. Shula looks straight out of a music video as she stares off into the distance. This, we realize quickly, is going to be a thing. At the very least, it’s an inconvenience, ripping her out of her independent life and back into the throes of her traditional family, their patriarchal ways and all their crippling secrets.This is the opening scene of “On Becoming a Guinea Fowl,”

darkly comedic, stylish and hauntingly bizarre portrait of a Zambian family funeral. It is perhaps the first great film of 2025 — though it’s technically been awaiting its moment in the United States since 2024. It premiered last year at theand has already had a run in the U.K.