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Mark Jenkins

Mark Jenkins reviews movies for NPR.org, as well as for reeldc.com, which covers the Washington, D.C., film scene with an emphasis on art, foreign and repertory cinema.

Jenkins spent most of his career in the industry once known as newspapers, working as an editor, writer, art director, graphic artist and circulation director, among other things, for various papers that are now dead or close to it.

He covers popular and semi-popular music for The Washington Post, Blurt, Time Out New York, and the newsmagazine show Metro Connection, which airs on member station WAMU-FM.

Jenkins is co-author, with Mark Andersen, of Dance of Days: Two Decades of Punk in the Nation's Capital. At one time or another, he has written about music for Rolling Stone, Slate, and NPR's All Things Considered, among other outlets.

He has also written about architecture and urbanism for various publications, and is a writer and consulting editor for the Time Out travel guide to Washington. He lives in Washington.

In Iranian writer-director Asghar Farhadi's impeccable A Separation, emotional devastation results from minor misunderstandings, caused largely by class divides and religious differences. The subtle contrivances of that 2011 film became more overt in its follow-up, The Past. Now Farhadi has made a drama that billboards its theatricality, opening on the vacant set for a Tehran production of Death of a Salesman. The parallels with that Arthur Miller play that arise over the course of the film'are one reason Farhadi titled it The Salesman.

Set on an apparently tropical island, The Red Turtle (La tortue rouge) exalts the cycle of life and celebrates the beauty of nature. Yet this dialogue-free animated fable could hardly be more anthropocentric.

The man around whom the film revolves is introduced literally at sea, battling to survive the stormy waves of a slate-colored ocean. The sketchily drawn, button-eyed survivor soon washes up on a remote isle. It's inhabited mostly by insects and crustaceans — the sand crabs provide low-key comic relief — although sometimes a larger creature comes ashore.

When a man vanishes in a Hollywood studio movie, the disappearance is usually the prelude to disclosing a hidden, violent life. But Claire in Motion is an indie domestic drama, so its revelations are less sensational. In fact, they're kind of bland.

Claire (Breaking Bad veteran Betsy Brandt) and Paul (Chris Beetem) are a faculty couple at Ohio University. Their shared surname is Hunger, but Paul is the only one who's been experiencing it.

The Ardennes forest is best known as the site of the Battle of the Bulge, although one of the sibling protagonists of The Ardennes associates it with idyllic family vacations. But by the time Kenny (Kevin Janssens) prevails on Dave (Jeroen Perceval) to revisit the rugged Belgian woods, another war has erupted.

We meet Dave first, as he dives, fully clothed and masked, into a pool. The camera is below the plunging figure, which makes for a dynamic and disorienting image.

In Jim Jarmusch's 2013 film Only Lovers Left Alive the members of a vampiric odd couple live continents apart, but are linked by shared hipster tastes in music and literature. The writer-director's Paterson is essentially the same movie, except that this time the lovers live together in New Jersey, and have very different enthusiasms. Yet they're just as hip, in their gentle, domestic way.

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