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There’s an element of danger, real and theoretical, permeating every moment of Maggie Gyllenhaal’s . Despite the idyllic Greek seaside setting and the intoxicating premise of a solo vacation, the unease hovers oppressively as we follow the brilliant, passionate, selfish, cruel and inscrutable Leda Caruso (Olivia Colman) through some unorthodox choices, past and present. Not only is she one of the richest characters that has ever graced our screens, it’s the kind of film that will bury itself in your subconscious.

It’s a rare film that makes you nostalgic for a time and place you never knew, but Paul Thomas Anderson’s breezy, sunny does just that for the San Fernando Valley of Gary Valentine (Cooper Hoffman) and Alana Kane’s ( Alana Haim ) youths. Awash in Southern California calm and optimism, this is a playful and joyous ode to the big personalities, embellished stories, endless possibilities and endearing Hollywood-adjacency of a place that barely exists anymore.

A bigger-than-IMAX vision that is as smart as it is spectacular, Denis Villeneuve’s is far and away the best blockbuster of the past few years. There was so much baggage and failure and missed opportunities swirling around â€Æà³Ü²Ô±ðâ€� that it’s kind of miraculous that they were able to make something this clear-eyed, thrilling and visually unique. The best part is it’s not even finished yet.

Art house films don’t typically get sequels with numerals on them for many reasons, most of them boring- and money-related, so it’s a bit of a miracle that even exists. But perhaps more extraordinary is what a great film it is as director Joanna Hogg and her star/stand-in Honor Swinton Byrne unpack Julie’s tragic first love and her evolution as an artist.

There is a tranquility to the Japanese drama which filmmaker Ryusuke Hamaguchi adapted from a Haruki Murakami short story about a widowed actor who develops a connection with his chauffeur, while putting together a multilingual production of Uncle Vanya. Don’t be scared off by the three-hour run time, which lately has seemed to be the exclusive province of bloated epics: Here, it is sublime.

is the only film on the list that I’ve seen more than 10 times already. It’s not exactly by choice, there’s a 2-year-old in the equation, but it’s not a chore either. In fact, it’s a joy to be transported into the Cinque Terra-inspired town of Portorosso to watch a few adolescent sea monsters dream of Vespas and a better future. It also has a tremendous score and a lively soundtrack of mid-century Italian bops.

A story about loneliness in the barren Montana frontier of 1925, Jane Campion’s stunning and sure-footed film is as rich and layered as a novel, playing out as a mystery, a Western, and a meditation on masculinity, femininity, class, love and hate. Benedict Cumberbatch’s brilliant, unbathed, casually cruel rancher Phil Burbank is a villain for the ages.

Paolo Sorrentino’s autobiographical film may deal with tragedy and fate and “coming-of-age,� but it is hardly a maudlin or overly sentimental affair. This is a shimmering, ecstatic love letter to family that uses all of the colors in the box.

Director Amalia Ulman acts alongside her real mother in a ferociously pointed satire about two women with severely limited funds attempting to live out a glamorous farce in post-crisis Spain by scamming and shoplifting their way through high-end establishments and wearing their best while doing so.

Also of note: “The Rescue,� “Bergman Island,� “Flee,� “The World to Come,� “The Green Knight,� “Summer of Soul�