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Sony Pictures Classics has acquired “The Penguin Lessons,” an uplifting dramedy starring Steve Coogan as a teacher who forms an unlikely bond with a feathered friend. Peter Cattaneo directed the film, which premiered at this year’s Toronto Film Festival. It’s adapted by Jeff Pope from Tom Michell’s 2016 memoir.

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Albert Serra’s Bullfighting Doc ‘Afternoons of Solitude’ Wins Golden Shell at San Sebastián, as Pamela Anderson and ‘The Last Showgirl’ Take Jury Prize

Guy Lodge Film Critic Sometimes, in a closely contested festival competition, it pays to be the one thing that isn’t like the others. A starkly powerful, observational study of contemporary bullfighting, Spanish auteur Albert Serra’s “Afternoons of Solitude” was the only documentary in the main competition at this year’s San Sebastian Film Festival — and this evening won the Golden Shell for best film of the festival, beating some big-name narrative competition.

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San Sebastián Film Festival Award Winners (Updating Live)

Guy Lodge Film Critic “Hard Truths,” “Conclave” and “Emmanuelle” are among the films competing for the Golden Shell at the closing night awards ceremony at the San Sebastián Film Festival, which is currently under way. This post will be updated live with the winners below, with a full report to follow.

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‘Afternoons of Solitude’ Review: Albert Serra Observes the Matador Life In All Its Absurd Beauty and Obscene Bloodshed

Guy Lodge Film Critic Albert Serra‘s “Afternoons of Solitude” begins not taking the bull by the horns, but looking it in the eye. It opens on a blunt close-up of a magnificent bovine specimen staring straight to camera, its gaze somehow confrontational, even as its pupils are nearly lost in the glossy obsidian monument of its head.

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‘When Fall is Coming’ Review: François Ozon’s Deceptively Calm, Collected Film About an Unraveling Rural Retirement

Guy Lodge Film Critic True to its title, François Ozon’s new film “When Fall is Coming” is awash in the aesthetics of what people far younger than its octogenarian protagonist would call autumncore, with a bit of cottagecore for good measure. In the sleepy, picturesque Burgundy valley where it largely unfolds, the leaves are rusting and crisping, chunky knitwear is coming out of hibernation, and through the screen, you can just about feel the air turning cold enough to splinter.

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‘Serpent’s Path’ Review: Kiyoshi Kurosawa Turns to His Own Back Catalogue, With Coldly Compelling Results

Guy Lodge Film Critic “The first version is the work of a talented amateur,” said Alfred Hitchcock to François Truffaut of his 1934 thriller “The Man Who Knew Too Much,” remade by Hitch himself in 1956. “The second was made by a professional.” Few are the filmmakers who gather sufficient career mileage and goodwill to take a second pass at their own work; fewer are those who make something worthwhile in the process.

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‘Modi, Three Days on the Wing of Madness’ Review: Johnny Depp’s Broad, Busy Modigliani Biopic

Guy Lodge Film Critic Celebrated in time for his distinctively lanky, almond-eyed interpretations of the human form, the Italian painter and sculptor Amedeo Modigliani died in 1920 at the age of just 35, tubercular and destitute and celebrated for very little indeed. At 61, Johnny Depp has both handily outlived Modigliani and outranked him in terms of antemortem celebrity.

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‘Emmanuelle’ Review: Notionally Revisionist Remake of the Softcore Classic Is One Big Anti-Climax

Guy Lodge Film Critic On paper, a contemporary feminist spin on “Emmanuelle” sounds like a zesty idea. An ostensible portrait of liberated female sexuality firmly ossified in patriarchal politics, Just Jaeckin’s 1974 softcore smash is the kind of cultural touchstone so emblematic of its era that the very act of remaking it qualifies as a symbolic statement of sorts.

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‘The Penguin Lessons’ Review: Steve Coogan Finds His Happy Feet in a Gentle True-Life Tale

Guy Lodge Film Critic Argentina’s 1976 military coup d’état, along with the sustained period of violence and forced disappearances that it ushered in, isn’t an obvious historical backdrop for a heartwarming tale of human-animal bonding. But that’s how the timing worked out for Tom Michell, an English teacher stationed at an elite Buenos Aires private school, at the time of the turmoil: With the country in chaos and many of his colleagues in crisis, he was figuring out what to do with the Magellan penguin he had accidentally adopted on a weekend jaunt to Uruguay.

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‘Diciannove’ Review: A Vivid, Humane Evocation of What It’s Like to Be 19 Years Old, With the World at Your Feet and Over Your Head

Guy Lodge Film Critic Nobody talks much about the age 19. It doesn’t come with the exciting avalanche of adult rights that come with turning 18, or the milestone symbolism of 21.

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‘Finally’ Review: Claude Lelouch’s Bizarre Male-Crisis Comedy Feels Like a Farewell

Guy Lodge Film Critic Five years ago, French writer-director Claude Lelouch returned, for the second time, to the site of his greatest career success with “The Best Years of a Life,” an autumnal sequel to his trend-setting 1966 romance “A Man and a Woman” that felt elegiac in multiple senses — not least since it turned out to be the final onscreen appearance for both its stars, Jean-Louis Trintignant and Anouk Aimée. Anyone who assumed it might be Lelouch’s sign-off, however, was quite mistaken.

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‘Sanatorium Under the Sign of the Hourglass’ Review: The Quay Brothers’ Surreal Stop-Motion Fantasia Is a Mouthful, an Eyeful and a Mind-Melt

Guy Lodge Film Critic Time, space and mortality work to no earthly schedule in the half-lit, hand-made twilight world of “Sanatorium Under the Sign of the Hourglass” — so it’s appropriate that this vertiginous stop-motion vision seems to operate by temporal laws of its own. The first feature film in nearly 20 years from cult animators the Quay Brothers runs just 76 minutes, though in the process of watching it, it feels both infinitely longer than that and over in the blink of an eye, like a dream of epic proportions that you forget seconds after waking.

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‘Peacock’ Review: A Zingy Austrian Comedy Follows a Friend-For-Hire In Desperate Need of a Real Connection

Guy Lodge Film Critic Considerate, cultured, polite, patient, a good listener, easy on the eye: Matthias is the kind of man almost anyone would be glad to have as company. In turn, he’s glad to be company to almost anyone: a middle-aged singleton seeking a date to a classical concert, an elderly married woman who can’t talk to her husband, a man his age who needs a fake boyfriend to secure an apartment lease.

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‘And Their Children After Them’ Review: A Delinquent Crime Echoes Through the Years In an Overblown Youth Melodrama

Guy Lodge Film Critic French writer Nicolas Mathieu won the Prix Goncourt — France’s highest-profile literary award — for his 2018 novel “And Their Children After Them,” a working-class Bildungsroman set against a backdrop of severe deindustrialization, for which he stated his disparate influences to include John Steinbeck, Émile Zola, Bruce Springsteen and the 2012 Jeff Nichols film “Mud.” The Springsteen namecheck is easily taken care of in this brash big-screen adaptation, via a thuddingly obvious needle-drop as its bike-riding hero straps his hands across some engines and hits the open road. Mathieu’s more literary allusions, however, haven’t survived the journey to Ludovic and Zoran Boukherma‘s overlong, outwardly emotive but strangely unmoving film, which resorts to soap-opera mechanics in its saga of three youths variously affected over a six-year period by one rash act of teen delinquency.

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‘Three Friends’ Review: A Loosely Knotted French Braid of Not-So-Illicit Affairs

Guy Lodge Film Critic “Any couple in love should remember that love might not last,” says someone midway through “Three Friends,” shrugging off a rebuffed kiss with impressively unruffled Gallic poise. If everyone were so sanguine about such matters, most varieties of love story wouldn’t have reason to exist.

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‘Kill the Jockey’ Review: A Colourful Argentine Oddity That Refuses to Stay on Track

Guy Lodge Film Critic To be a jockey is to be both athlete and adjunct. While the horse gets the glory, its human partner is a literal hanger-on: ostensibly in control, but subject to animal impulses.

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‘Super Happy Forever’ Review: Nostalgia Can’t Mend a Broken Heart In a Gentle Japanese Charmer

Guy Lodge Film Critic Five years separate the two halves of “Super Happy Forever,” a delicate, unassuming but subtly complex love story in reverse that doesn’t dart between timelines, instead offering the past as a bittersweet chaser to the present. It’s a gap short enough for little to have changed at the sleepy Japanese beach resort where the film is set: Faces and places stay much the same, though melancholic protagonist Sano (Hiroki Sano) has perhaps too much faith in the time-bridging powers of a hotel’s lost-and-found desk.

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‘Apocalypse in the Tropics’ Review: Petra Costa Offers a Sobering Look at the Evangelical Age of Brazilian Politics

Guy Lodge Film Critic For opponents of former Brazilian president Jair Bolsonaro — which is to say, among other things, opponents of anti-Indigenous discrimination, deforestation, abortion bans, institutional homophobia and COVID denialism — his loss in the country’s 2022 general election was a relief, but hardly a new dawn. The presidency may once more be held by liberal veteran Luiz Inácio Lula da Silva (popularly known as just Lula) of the center-left Workers’ Party, but the demographic shifts and political machinations that enabled the recent far-right takeover still cast a long shadow on a nation beset with economic inequality and social unrest.

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Lithuanian Teen Drama ‘Toxic’ Wins Big at Locarno Film Festival

Guy Lodge Film Critic Lithuanian cinema, not typically that well represented on the international film festival circuit, was the big story of this year’s Locarno Film Festival awards ceremony, with two films from the Baltic nation taking a number of top prizes between them. “Toxic,” an auspicious debut from writer-director Saulė Bareiša, won not only the Golden Leopard for Best Film in the fest’s premier International Competition — from a jury chaired by Austrian auteur Jessica Hausner — but also, in an unusual double, the top prize in the separately juried First Feature Competition.

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‘Toxic’ Review: Unstinting Lithuanian Teen Drama Follows Catwalk Dreams In a Concrete Nightmare

Guy Lodge Film Critic The mean girls of your average Hollywood teen movie wouldn’t last a morning in the ruthless adolescent playground of “Toxic,” where economic exploitation and unforgiving body image standards rule the bullies and their prey alike. Set in an industrial Lithuanian town where even the asphalt has seen better days, Saulė Bliuvaitė‘s impressively tough-minded debut feature is uncompromising in its depiction of the punishment and self-abuse endured by girls enrolled at a fly-by-night modeling academy — where the vague promise of an escape to pretty much anywhere is enough to motivate frightening extremes of disordered eating and body modification.

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‘By the Stream’ Review: Hong Sangsoo’s Wry, Strangely Sweet Ode to Art, Love and Eel

Guy Lodge Film Critic “By the Stream,” the 32nd feature by Hong Sangsoo, opens as many of the previous 31 have, with a polite meeting between two softly acquainted people — neither strangers nor as familiar to each other as they might once have been. Tentative pleasantries are exchanged, before one says to the other, “You haven’t changed at all.” It’s a premature observation, of course: The ensuing action, such as it is, shows either how much has changed between the two, or how much they’ve forgotten along the way.

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