Wendy Ide’s pick of other films: Rebuilding, Glenrothan, The Blue Trail and more

Rebuilding

(96 mins, PG) Directed by Max Walker-Silverman; starring Josh O’Connor, Meghann Fahy, Kali Reis

The opening sequence of Max Walker-Silverman’s Rebuilding is arrestingly lovely: bare tree branches carve sculptural black rips into what looks at first like a frosted, half-lit winter mist. Gradually, however, it becomes clear that this is not a wintry landscape but a scene of devastation – the aftermath of a catastrophic wildfire. The undeniable aesthetic appeal of the shot remains, and this, perhaps, is the core message of this pensive drama. Disasters happen. But out of the ashes something unexpected and beautiful can emerge.

The film is rich with an American indie-movie sincerity that can be off-putting – a bit like having a conversation with someone who insists on too much meaningful eye contact. But somehow it coalesces into something gently profound, avoiding the pitfalls of on-the-nose messaging thanks to yet another superb performance from the currently unbeatable Josh O’Connor and a wistful campfire guitar score.

The British actor slips into a midwestern accent as comfortably as he wears his character’s battered denim and cowboy hat. He plays Dusty, a man of few words who is reeling from the loss of his Colorado family ranch in the fire. He’s not just grieving his livelihood – we see him auctioning off his few remaining cattle, head heavy in his hands – but also his identity and history. He clings to the hope of rebuilding the ranch. But the film’s title refers more to his relationship with his young daughter and to his newfound community in a temporary Fema trailer park.

Glenrothan(99 mins, 12A) Directed by Brian Cox; starring Brian Cox, Alan Cumming, Shirley Henderson

Sometimes, when a talented actor turns their hand to direction, it feels like a natural extension of their storytelling skill set. At others, the result is so clumsy that you start to question everything you thought you knew about said actor. Glenrothan, the flat-footed directorial debut of Succession actor Brian Cox, falls into the latter camp.

He plays Sandy, the owner of a Highland whisky distillery that’s been passed down through his family over several cantankerous generations. After 40 years of estrangement from his younger brother Donal (Alan Cumming), Sandy reaches out with an invitation to visit. Donal grudgingly accepts, in part at the urging of his daughter and granddaughter, in part because his Chicago blues bar just burned down.

Will Donal rediscover his love for the Scottish Highlands? You can bet your bluff locals, sweeping drone shots and assorted tartan cliches he does. This double measure of heart-warming whimsy is too watered down to have much of a kick.

The Blue Trail(86 mins, 15) Directed by Gabriel Mascaro; starring Denise Weinberg, Rodrigo Santoro, Miriam Socarras

High-concept cinema usually requires a budget to match, particularly when the film unfolds in a dystopian near future. But offbeat Brazilian drama The Blue Trail demonstrates just how much can be achieved with an inventively maximised shoestring budget.

In a Logan’s Run-style Brazil, seniors are forcibly relocated to retirement communities from which they never return. But 77-year-old Tereza (Denise Weinberg) is not ready for “the wrinkle wagon” – a cage mounted on the back of a three-wheeled truck. She still has ambitions to fulfil and a life to live.

Accompanied by a quirky, percussive score that reminded me of the Brazilian Tropicália musician Tom Zé, Tereza embarks on an adventure by boat that takes in hallucinogenic snail juice, illicit gambling clubs, unlikely friendships and a job selling digital Bibles to eager punters. It’s oddly abrupt in its conclusion, but this weird and defiantly original picture is quite a trip.

Colours of Time(126 mins, 15) Directed by Cédric Klapisch; starring Suzanne Lindon, Abraham Wapler, Vincent Macaigne

Best known for Euro-froth pictures such as L’Auberge Espagnole and its sequel, Russian Dolls, French director Cédric Klapisch returns with a deft, dual timeline charmer. Like many of his films (and his TV series Greek Salad), Colours of Time is anchored by a piece of property – here, a derelict house in Normandy. In the present day, descendants of the house’s former owner gather to broker a sale, finding friendship and family in the process. In the parallel strand, set in 1895, the building’s owner, 21-year-old Adèle (Suzanne Lindon), ventures to Paris in search of the mother she never knew.

It’s a pretty, slightly kitsch confection, but this millefeuille of family secrets and art history is rather delightful.

Kiss of the Spider Woman(128 mins, 15) Directed by Bill Condon; starring Diego Luna, Tonatiuh, Jennifer Lopez

Bill Condon’s lavish, soullessly spectacular Kiss of the Spider Woman is an adaptation of the stage musical rather than a remake of Héctor Babenco’s 1985 film. Diego Luna plays Valentín, a political prisoner in early 1980s Argentina. Tonatiuh – the best thing in this mannered film – is Molina, his gay cellmate. Movie obsessive Molina passes the time by recounting the plot of his favourite film, a camp Hollywood musical starring Latina bombshell Ingrid Luna (Jennifer Lopez, doggedly exuding glamour through gritted teeth).

Lopez and Luna (also playing Ingrid’s romantic lead) make heavy weather of the song-and-dance numbers. Tonatiuh, on the other hand, is mesmerising, showing us both brash provocation and a wounded soul, sometimes within a single shot.

Photographs by MK2/Graeme Hunter All Rights Reserved; Palace Films; Mongrel Media