Vibes-driven film (which I intend as a compliment). The specific vibes in play: mirrors; light refracting through glass; Kirsten Dunst's face, hands, and body; Lynchian trees/logs; vegetative fug; varieties of rural masculinity; the textures of particular fabrics. Like any other mood piece in the A24 stable, this film can be groaningly self-serious, and it doesn't quite stick the landing, but by and large this is an absorbing watch.

The weakest Haneke film in recent years. It has a strong cast, with a few Haneke regulars, and it's impeccably staged and shot, but its themes feel somewhat rehashed—at its worst moments, the film feels almost like a swerve into self-parody. Haneke's films tend to cohere around a single vital image or transgressive moment—his best films have several—and while there are a few candidates here, none quite rise to clear the admittedly high bar Haneke's past work has set, and I don't expect that they'll stick in the memory.

It feels heartening, sometimes, to see a movie that's fueled by pluck, charisma, and good cheer rather than by gobs of capital.

Equal parts INSTITUTE BENJAMENTA, the television show SURVIVOR, and the Stanford Prison Experiment. Horrifying, yet engrossing; exhausting, yet never boring