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We saw that in last yearвЂ™s Z for Zachariah, and we see it here again in the similarly Southern-tinged (or, in this case, Texan-tinged) crime drama Hell or High Water, in which Pine plays one half of a brother-brother bank-robbing duo with a flinty stare belying a manly goodness. ItвЂ™s finally time we made it official: Chris Pine, jewel-eyed Star Trek hunk and onetime romantic foil for Lindsay Lohan, is a fine actor. See this one first, if you can.Д¬ourtesy of Cannes Film Festival. An intelligent, funny erotic thriller, The Handmaiden seems destined for some kind of American remake (the Brits already made a Fingersmith mini-series, with Sally Hawkins and Imelda Staunton, in 2005) that isnвЂ™t likely to live up to ParkвЂ™s invention, wit, and daring. Kim Min-hee is especially entrancing, robustly playing a nutty, devious rich girl with a soul. Amid all that, Park doesnвЂ™t get distracted, keeping a tight focus on the winding story and coaxing great performances out of all four leads. I donвЂ™t want to tell you much of anything about how things play out, because there are plenty of nifty, nasty surprises to be enjoyed here, but you should know that thereвЂ™s some rather explicit handmaiden-on-lady-of-the-house sex, thereвЂ™s some familiar Park Chan-wook arty gore, and thereвЂ™s a lot of old-timey porn. Set in 1930s Korea, during the Japanese occupation, The Handmaiden follows Sookee ( Kim Tae-ri), a born thief who is recruited to help a con man ( Ha Jung-woo) with his plan to seduce a lonely, addled heiress ( Kim Min-hee), who lives in a creepy manor house with her even creepier uncle ( Jo Jin-woong). Luckily, his new movie, a brazen lesbian twist-fest based on Sarah WatersвЂ™s novel Fingersmith, doesnвЂ™t lose its duty to entertain amid all its style. Park Chan-wookвЂ™s previous film, the English-language dud Stoker, was so dull and emptily wicked that I wasnвЂ™t all that eager to wade into another of his cruel worlds at Cannes this year. An engrossing, intimate character study that manages to encompass plenty of universal truths, Aquarius is a look at the end of things that is vibrant and bursting with life.Д¬ourtesy of Cannes Film Festival. ItвЂ™s beautifully anchored by BragaвЂ™s lively performance, as detailed and textured as the perfect set design, Barry Lyndon poster and all. Aquarius is a film thatвЂ™s at once gentle and angry, sad and sexy. We root for Clara, but we also see that she is fighting an inevitably losing battle: against change, against mortality, against the turning of the world that she so loves and revels in. FilhoвЂ™s film is about some specific things-divides in Brazilian society, the upheavals of economic development-but itвЂ™s also more vaguely about time, and memory, and resilience. So she doesnвЂ™t want to leave, though her refusal to do so means other people in the building canвЂ™t get their buyout money. Clara, played with richly realized clarity (only fitting, given her name) by an exquisite Sonia Braga, is a renowned music journalist who has built a good life for herself, surviving breast cancer in her late 20s and going on to raise three intelligent children in her airy, beach-view apartment. This beguiling bit of social realism, from director Kleber MendonГ§a Filho, tells the story of a stubborn middle- to upper-middle-class woman living in the Brazilian coastal city of Recife, who refuses to sell her apartment so the owners of the land can tear down the building and put up a luxury high-rise. Lovely and strange, Paterson had me drifting out onto the Croisette in a warm, contemplative, melancholy spell. A wistful, but not downbeat, meditation on poetry and place, Paterson is one of the more loving film depictions of a small American city in recent memory, an ode to the work of William Carlos Williams, and an appreciation of the soft, metaphysical murmurs of the everyday world ones we could all hear if weвЂ™d just train our ears and open our minds.

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What a pleasure, then, that Driver not only delivers-giving a quiet, soulful, kindhearted performance thatвЂ™s my favorite thing heвЂ™s done thus far-but that JarmuschвЂ™s film is as wise, winning, and surprisingly moving as it is.

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So, most of my excitement, and curiosity, about the movie had to do with him. HeвЂ™s played by Adam Driver, an appealing, on-the-rise actor who keeps showing us new things.

So I had only mild hopes for his Cannes film this year, Paterson, about a bus driver in Paterson, New Jersey, who is also named Paterson, and who has a second life as a poet. I often find something about Jim JarmuschвЂ™s films a little cold or alienating, steeped in digressive quirk as they are.

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