In the very last scene of Hong Sang-soo’s “The Woman Who Ran,” a character does something that briefly filled me with envy: She walks into a movie theater, sits down and loses herself in the image playing on the screen.
Like Hong, Tsai is an acutely observant filmmaker and a master of the quotidian, but one who moves to his own distinct rhythms. “The Woman Who Ran” is wall-to-wall chatter; “Days” is a work of long, leisurely silences in which what dialogue there is has been left intentionally unsubtitled.
The electrifying “Mangrove,” set between 1968 and 1970, unfolds in and around a newly opened Caribbean restaurant in Notting Hill whose Black owners and patrons draw immediate, sustained harassment from police.
I’m looking forward to the other two “Small Axe” titles, “Education” and “Alex Wheatle,” but on the evidence of the first three we’ve seen, McQueen’s ambitious anthology already looks like one of 2020’s dramatic highlights: a work that burrows deep into the past and speaks with effortless clarity to the present. Azazel Jacobs’ new comedy, “French Exit,” which brought the festival to an entertaining if uneven close Oct. 11, feels temporally unmoored by comparison.
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