Has it really been 4 years since John Crowley and Nick Hornby’s film, Brooklyn, hit the big screen? And, why is it still a movie that speaks to us and that we keep going back to? Is it because it’s the versatile and talented Saorise Ronan’s first major film? Or because we all know, somewhere deep inside us, our own journey away from our original homes? What is the appeal? I think it’s because Brooklyn tells us so much about what can go wrong between a mother and a daughter, about a young girl’s early pain, pain that persists.

Lady Bird begins with a Joan Didion quote splashed across the screen: “Anyone who talks about California hedonism has never spent Christmas in Sacramento.” Christmas is mostly for children or, at least, the child part of us.

Hunger can lead to desperate acts. And, it does –  in Bong Joon-Ho’s startling new film, Parasite. Plus, we find. if you’re hungry and helpless (emotionally, that is), you can even become a parasite. The kind of hunger we witness in many of Parasite’s characters leads to various forms of exploitation – of the class above or below. But, it’s not simply exploitation that makes for a parasite.

Travis Bickle (Robert DeNiro), age 26, is Taxi Driver‘s lonely, alienated “hero.” Yes, he’s a Vietnam War vet, ex-marine, and likely has his share of PTSD. But, his problems stem from something much deeper than war-trauma.

Middle School definitely sucks for many kids. It sucked for Kayla Day (Elsie Fisher) in her excruciatingly awkward (but at the same time sweet and hopeful) journey from Middle School to High School in Bo Burnham’s film Eighth Grade.

Lady Bird begins with a Joan Didion quote splashed across the screen: “Anyone who talks about California hedonism has never spent Christmas in Sacramento.” Christmas is mostly for children or, at least, the child part of us. And, few come through childhood unscathed.

The historical jury is out as to whether Queen Anne of England (1702 -1714) and her two ladies were actual lovers. Yet, sex makes for a good story; and sex wields power – in both what it has to offer and withhold. Envy, though, is the real name of the sexual game at the center of The Favourite.

Debra Granik’s Leave No Trace is a story about trauma and distrust. That might not be the most obvious thing in this compelling film about a Vietnam Vet and his 13-year-old daughter who live in hiding in a park forest outside Portland, Oregon. But for me, as a psychoanalyst, it is the film’s heart.

Desire is what director, Luca Guadagnino, hoped to convey in Call Me By Your Name – the kind of desire that allows you to live life by following your feelings with openness. Guadagnino calls this: “living with a sense of joie de vivre”, in which, he says: “we should always be very earnest with [our] feelings, instead of hiding them or shielding ourselves.”

Poor Phil Connors. He’s stuck repeating the same day over and over again. It’s been 25 years since Harold Ramis’ Groundhog Day hit the theaters for the first time. Hopefully, none of you have spent that long living the same day.

Paul Thomas Anderson has done it again. He’s a master at exploring the various kinds of perverse power games involved in problems with dependency and love. Anderson’s new film, Phantom Thread, is another brilliant character study to add to Boogie Nights, Magnolia, The Master, and Inherent Vice (to name a notable few).

The Big Sick, Emily V. Gordon, and Kumail Nanjiani’s touching, sad, scary, and deeply heart-warming romantic comedy tells us a lot about those old rules you live by. They’re not so easy to break. They turn into “should-s,” carry terrible guilt; they make you scared. And, along with all that, they confuse you…

Shame ravages. It eats away at you. It makes you collapse into yourself and live with secrets – seemingly too shameful to tell.

Spike Jonze is interested in loneliness. His new film, Her, is a semi-futuristic exploration of one lonely man’s struggle to learn what love is and what love is not. Here’s what we know about Theodore Twombly (Joaquin Phoenix).

Martin Scorsese’s The Wolf Of Wall Street is an indulgently voyeuristic picture of MORE, MORE, MORE, (we call it Greed), at every level. Money, sex, drugs – there’s no stopping the film’s main characters, Jordan Belfort (Leonardo DiCaprio) and his cohorts, from their purely hedonistic pursuits.