It’s an already fragile plan that collapses when she takes a job with a former associate, only to find herself working alongside Martin. And perhaps, she decides, that’s easier: Once the shock subsides, she attempts to pick herself up with no visible disruption, not even telling Piet about her ordeal. Janne is so stunned (‘Are you serious?’ she asks her attacker as it happens) that she almost forgets to be angry. “What she intends as innocuous flirtation, however, he crassly misreads as a sexual advance when she rebuffs him, he rapes her, in a stark, unsensationalized scene that’s wince-inducingly painful to watch. They’ve recently declared bankruptcy after a joint business venture failed, the resultant stress of which might explain Janne’s uncharacteristically uninhibited behavior at a college reunion, where she drinks heavily and gets chatting with gangly, socially awkward stranger Martin (Hans Löw, cutting a very different figure from his lead in the recent Cannes premiere In My Room). “From that opening picture of domestic bliss, the cracks begin to widen.

We meet her as she’s cheerfully renovating a dilapidated, newly bought house with her boyfriend Piet (Andreas Döhler), a stand-up guy with whom she has quiet, comfortable chemistry. At the film’s outset, however, you’d have little reason to believe Janne (Schwarz), a thirtysomething publishing professional, is anything but. “We all know that ‘I’m fine’ is a statement that can indistinctly cover any number of personal conditions, from genuine contentment to raging inner torment. As it is, arthouse distributor interest should be amped up by the film’s blazing (if hardly momentary) topicality. All Good - a seemingly bland title that turns bitingly resonant in context - would inspire vigorous post-screening debate even if it weren’t arriving in the heat of the #MeToo movement. Trobisch’s narrative voice, however, is very much her own, with savage deadpan humor cutting into its head-on articulation of everyday human horrors. “Written as a graduation project at the London Film School and a worthy victor in Locarno’s first-feature competition, Trobisch’s finely poised film will likely prompt auspicious comparisons to the early work of Maren Ade as it burns through the festival circuit. A fascinating flip on themes contentiously raised in Paul Verhoeven’s Elle, underpinned by a breakout performance of raw candor by Aenne Schwarz, this is grown-up filmmaking of sharp, subtle daring. There’s undeniable power in that, but at what point does defiance twist into denial? This is the fine precipice on which German writer-director Eva Trobisch’s searing debut feature All Good balances its frayed-nerve drama - after a self-possessed young woman is raped by a man she hardly knows, and chooses to continue her life without acknowledging that fact. Eva Trobisch) – Variety’s Locarno International Film Festival review by Guy Lodge: “When we speak of someone ‘refusing to be a victim,’ it’s usually in praise of their resolve and resilience: It’s a refusal that asserts an identity stronger than the worst adversity you’ve experienced.

JUNE 6 (streaming on Netflix): Alles Ist Gut (aka All Good) (dir. Adams) – until he meets stunning hotel clerk Anemona (Holly Horne) while on vacation.” Cristina Jacob) – Netflix synopsis: “Awkward 16-year-old Andrei (Bogdan Iancu) is infatuated with his alluring but aloof schoolmate Ramona (Aggy K. JUNE 1 (streaming on Netflix): Oh, Ramona! (dir. These titles are sure to intrigue cinephiles and also provoke meaningful discussions on the film world, as well as the world in general.

Here are twenty-two new movies due to be released in theaters or via other viewing platforms this June, all of which have been directed and/or photographed by women. Screenwriter/producer/actress Mindy Kaling and director Nisha Ganatra on the set of Late Night, 2018.

Holly horne oh ramona anemona