We need more directors willing to take risks with films like Get Out.
Woody Allen's "Hannah and Her Sisters," the best movie he has ever made, is organized like an episodic novel, with acute little self-contained vignettes adding up to the big picture.
Each section begins with a title or quotation on the screen, white against black, making the movie feel like a stately progression through the lives of its characters. Then the structure is exploded, time and again, by the energy and the passion of those characters: an accountant in love with his wife's sister, a TV executive who fears he is going to die, a woman whose cocaine habit has made her life a tightrope of fear, an artist who pretends to be strong but depends pitifully on his girlfriend.
By the end of the movie, the section titles and quotations have made an ironic point: We try to organize our lives according to what we have read and learned and believed in, but our plans are lost in a tumult of emotion.
The movie spans two years in the lives of its large cast of characters - New Yorkers who labor in Manhattan's two sexiest industries, art and money. It begins and ends at family Thanksgiving dinners, with the dinner in the middle of the film acting as a turning point for several lives.