What Kind of New World Is Being Born? According to the Gospel of Luke, the Virgin Mary first learns that she'll soon give birth to Christ when she gets an unsolicited visit from an angel. Nice messenger service if you can get it. But before trusty Gabriel can dispense the good news upon which Christmas depends he has to calm the girl down. "Fear not," he says, and, in a way, this sombre reassurance is the Yuletide message in drastic miniature.

June Squibb sparkles opposite Cynthia Nixon in a futuristic drama, and Michelle Williams loses her way in Eugene O'Neill's Pulitzer Prize winner. Appropriately enough, Jordan Harrison's déjà-vu-inducing "Marjorie Prime" has been here before. The Off Broadway theatre Playwrights Horizons produced the poignant sci-fi play about hyperrealistic re-creations of the dead--so-called Primes, which are used as a supportive technology for the bereaved--in Anne Kauffman's spirited, delicately comic production, back in 2015. Lois Smith, then eighty-five years old, played Marjorie, a woman struggling with dementia. It's the early twenty-sixties, and so Marjorie is attended by a holographic Prime of her husband, Walter, who tells her stories from her own life.

The filmmaker, who died in January, showed us what our world was becoming, and how we should respond. In the summer, the actress Natasha Lyonne relayed an anecdote about the late director David Lynch, in which he told her that A.I. in the creative arts would soon be as ubiquitous and indispensable as the pencil. Lyonne, who happens to be the co-founder of an A.I. studio, seemed to be implying that the revered filmmaker had offered his approval to the same nihilistic and destructive technology that recently enabled President Donald Trump to imagine himself as a king in a fighter jet dropping payloads of diarrhea on the people he's sworn to serve. In an interview with magazine in November, 2024, he said that, on the one hand, "the good side" of A.I. could be "important for moving forward in a beautiful way," and, on the other, "if money is the bottom line, there'd be a lot of sadness, and despair and horror." He added, "I'm hoping better times are coming." In January, amid the wildfires that ravaged Los Angeles, Lynch was evacuated from his home and died shortly thereafter, of complications from emphysema.

The new sci-fi drama from Vince Gilligan posits an end-of-humanity scenario that everyone other than its protagonist can agree on. Even before her fellow-humans' contamination, Carol didn't seem to have much use for them. On the night that the world as we know it is destroyed, a novelist named Carol Sturka (played by Rhea Seehorn) sees cars and planes veer off course, an emergency room full of convulsing bodies, and her city, Albuquerque, on fire. The President dies under mysterious circumstances, and, more devastatingly for Carol, so does her live-in partner, Helen (Miriam Shor). Then, in less than an hour, the apocalypse cleans up after itself.

"A Big Bold Beautiful Journey" Is None of Those Things Kogonada's fantasy film, starring Colin Farrell and Margot Robbie, suggests that a great directorial talent is losing his way. In Kogonada's new film, Colin Farrell and Margot Robbie try gamely to overcome the thinness with which their characters have been imagined. If movies were given scores as figure skaters are, fantasy would start with a high rating for technical difficulty. The landings of the genre are hard to stick, because fantasy, by definition, isn't rooted in experience. No one has lived on a distant planet, in the far future, or any place where dragons or wizards rule--so, kudos to anyone who can make such realms feel truly lived in.

One of Chantal Akerman's Best Films Is in Legal Limbo The Belgian-born director's 1994 coming-of-age masterwork, about a precocious teen-ager's romantic audacity, can't be reissued because of its needle drops. Much of direction is production: the material conditions under which a movie is made plays a major role in the creative process. Movie lovers tend to think of producers as dictators of formulas, oppressors of originality, the enemies of art, but that just reflects the unfortunate history of studio filmmaking in Hollywood and elsewhere. In fact, producing a movie can be a kind of art in itself, a practical imagining of possibilities for filmmakers that they wouldn't themselves have come up with. The complete retrospective of Chantal Akerman's work that runs at from September 11th to October 16th includes a superb instance of this phenomenon--of visionary production fostering directorial artistry--in her "Portrait of a Young Girl at the End of the 60s in Brussels," an hour-long movie from 1994.