What to watch: Heartbreaking ‘Close’ is unforgettable

A shattering portrait of a childhood friendship that’s ripped apart, an elevated horror movie about motherhood and a few other gems highlight our best bets this week.

“Close”: The tender summertime connection between two 13-year-old boys withers and dies once Leo (Eden Dambrine) and Remi (Gustav De Waele) return to school where their bond is viewed with fear and scorn and they’re greeted with homophobic slurs. Director Lukas Dhont’s lovely autumnal lament on an innocence destroyed aches not only with pain and guilt but compassion and acceptance. Dhont doesn’t make anyone a villain, plumbing the trajectory of grief as it leaves its targets with unresolved feelings that they work on at first alone and then together. From first frame to last, “Close” displays a poetic grace in showing a severing of innocence and a need to heal from an agonizing loss. It features world-wise performances from its cast, a haunting score from composer Valentin Hadjadj and breathtaking cinematography from Malte Rosenfeld. It’s a treasure you’ll never forget. Details: 4 stars out of 4; in select theaters Feb. 3.

“To Leslie”: A sad truism about the Academy Awards and movie awards in general is that many deserving films and performances simply get skipped over. The ones that tend to jump to the forefront come backed with ads, screeners and dollars, much along the lines of political campaigns. A deserving acting turn that’s turned into a cause de celeb for Cate Blanchett, Kate Winslet and many others is Andrea Riseborough’s phenomenal performance in an indie. Riseborough deserves the shower of praise for her stellar work in Michael Morris’ gritty but hopeful drama about an alcoholic unhoused West Texas mom (Riseborough) who once won the lottery and is now upending everyone’s life around her, including her hard-working 19-year-old son (Owen Teague), a former chum (Allison Janney) and two motel owners (Marc Maron and Andre Royo) who offer her a job despite Leslie’s unreliable actions. Riseborough makes every glance and gesture reveal what her character is wrangling with. It’s such a naturalistic performance it feels like you’re watching a real person in a documentary. She was nominated for a best actress Oscar but the Academy said it was reviewing the nod because it seemed to come out of left field (few people have seen the film yet) and there are concerns among some that it was the result of a promotional campaign rather than the performance. (On Tuesday, it was announced the nomination will stand.) Many are backing Riseborough, and while her stunning performance does anchor “To Leslie,” the film itself is a thoughtful indie that doesn’t wallow in despair as it gives us a downtrodden character who’s used up her second, third and even fourth chances yet still deserves another a shot of redemption. In a sea of downer films, “To Leslie’s” message resembles a bright light beckoning us to calmer shores ahead. Details: 3½ stars; available to rent on multiple platforms.

“Baby Ruby”: While comparisons will be aptly made to Roman Polanski’s classic maternal horror story “Rosemary’s Baby,”  playwright-turned-director-and-screenwriter Bess Wohl’s shattering debut is its own entity, a reflection on how motherhood can indeed be a nightmare. “Portrait of Lady on Fire’s” Noémie Merlant plays successful vlogger Jo whose social-media-perfect existence with hunky hubby Spencer (Kit Harington of “Game of Thrones”) gets thrown out of whack upon the arrival of their first, very vocal and prone-to-biting child. Sleepless nights distort the couple’s views of what is real and what is delusional as Jo descends into a madness that includes seeing other mothers as akin to a stream of “Stepford Wives” clones frolicking with their perfect babies. “Baby Ruby” employs a shaky narrative to deliver a rattling good commentary about every parent’s nightmare. Details: 3 stars; now in select theaters.

“Murder at Big Horn”: Fresh off its debut at the Sundance Film Festival comes this three-part series on the alarming number of disappearances of Indigenous teens and women in rural swaths of Montana. It’s both shocking and maddening, with directors Razelle Benally and Matthew Galkin stripping back the many factors that contribute to these unsolved deaths, from police inaction to the disgraceful ways Native Americans have been treated throughout history. It’s a well-made series that exposes corruption, trafficking and injustices perpetrated on families. Details: 3 stars, airs Feb. 3 on Showtime.

“The Offering”: The horror genre has been on a lucky streak of late, with newbie filmmakers hitting home runs in their first at bat. Count Oliver Park as among the sluggers, thanks to this dandy of a demonic chiller set in a family-run Hasidic mortuary. An ulterior motive drives son Arthur (Nick Blood) to stop in, with with his pregnant wife (Emily Wiseman) for an eventful visit with his estranged funeral director poppa (Allan Corduner). The disappearance of a young child, some curious deaths and a Eastern European mythological demon lead up to a grand, bloody showdown. Park cranks up both the mood and the fear factor for a devilishly good supernatural thriller, one that promises even better things ahead from the talented director. Details: 3 stars; available to rent online.