In May, Aleshea Harris made her feature directorial debut with “Is God Is,” an adaptation of her award-winning 2018 stage play of the same name. The dark comic thriller follows two sisters (played by Kara Young and Mallori Johnson) on the road to revenge as they seek to kill their father (Sterling K. Brown) at the request of their mother (Vivica A. Fox) years after he attempted to burn them alive. It’s a stylish and assured debut from Harris, who adapts her own story with flair.

“Project Hail Mary” is still one of the year’s biggest movies, an epic sci-fi blockbuster anchored by an incredible Ryan Gosling performance and a hopeful, moving story. Directors Phil Lord and Christopher Miller, along with screenwriter Drew Goddard, adapt Andy Weir’s novel with scope and visual splendor from cinematographer Greig Fraser, while Daniel Pemberton delivers one of the year’s best scores. Rocky, voiced wonderfully by puppeteer James Ortiz, instantly joins the cinematic “little guys” hall of fame.

And if all that isn’t enough, “Project Hail Mary” features Sandra Hüller singing “Sign of the Times.” Cinema.

There is life before watching “Red Rooms” and life after watching “Red Rooms.”

Maybe that’s too lofty of an expectation to place on Pascal Plante’s small crime feature for new viewers. But not a week has gone by since I saw this film, following a young woman (Juliette Gariépy) as she becomes obsessed with the case of a serial killer, that something in our world hasn’t made me think about it. Plante directs “Red Rooms” with confidence, aided by a brilliant, gripping performance at the center. It’s a disturbing watch, one that creeps up on you and lingers long after the credits have rolled. It’s also one of the best movies of the decade so far.