Capsule reviews for July 9

Dachra

Although it too often indulges in gory genre tropes, this evocative low-budget Tunisian horror film finds fresh ways of exploring familiar territory from a unique sociocultural perspective. Apparently inspired by real events, it chronicles a feisty journalism student (Yassmine Dimassi) who travels to a remote village with two friends, on assignment to investigate a cold case involving a suspected witch (Hela Ayed) confined to an asylum. But a subsequent trek into the woods is where things turn more sinister, leaving the trio with no means of escape. This uneven yet promising debut from director Abdelhamid Bouchnak unleashes some genuine chills beneath the ultraviolent surface. (Not rated, 113 minutes).

The Loneliest Whale: The Search for 52

The intrigue lies beneath the surface in this fascinating documentary about a long-shot expedition to find a specific whale of unknown species in the vastness of the Pacific Ocean. The creature gained notoriety decades ago for its unique 52-hertz call, which led to assumptions that it was never being answered and therefore living in virtual solitude. This film finds filmmaker Joshua Zeman (Cropsey) assembling a team of scientists on a renewed effort to track down the elusive whale off the California coast. Although it detours into history lessons about bioacoustics and marine conservation, the film’s central mystery yields some genuine suspense — and even an unexpected twist. (Rated PG, 96 minutes).

North Hollywood

If it feels like a companion piece to Mid 90s, that’s no coincidence. Many of the same collaborators worked on this affectionate coming-of-age saga about the virtues of brotherhood and skateboarding, which overcomes familiarity with gritty authenticity and heartfelt charm. It follows Michael (Ryder McLaughlin), who dreams of becoming a pro skater against the wishes of his overbearing father (Vince Vaughn). As his goals are within reach, he begins dating Rachel (Miranda Cosgrove) while becoming distant from his longtime friends. The well-acted film marks a stylish debut for director Mikey Alfred, whose semiautobiographical script is rough around the edges, yet still resonates with humor and pathos. (Not rated, 93 minutes).

Running Against the Wind

As much as you might root for this scrappy and heartfelt Ethiopian drama, it bogs down in heavy-handed contrivances before reaching the finish line. It’s a story of loyalty and sacrifice centered on the relationship between childhood friends Abdi (Ashenafi Nigusu) and Solomon (Mikias Wolde), who grew up in the same small town but drift apart as Abdi becomes a decorated distance runner while Solomon struggles to support his family as a photographer. There’s a certain poignancy to watching their attempted reunion, and rookie director Jan Philipp Weyl offers a stylish depiction of Ethiopia’s visual diversity. However, melodramatic cliches compromise the film’s emotional impact. (Not rated, 116 minutes).

Scales

While it’s difficult to find much hope amid the desolation and despair, this dystopian Saudi drama is a quietly powerful saga of acceptance and self-discovery. It’s set on a remote island governed by antiquated traditions of ritualistic sacrifice involving each family’s first-born daughter to appease the ocean. Twelve years after being spared by her father, Hayat (Basima Hajjar) is ostracized as she works on a fishing boat, trying to lure “sea maidens” to end a persistent drought. Even as it becomes muddled with symbolism, the promising debut of director Shahad Ameen features stylish black-and-white cinematography and an audacious scrutiny of patriarchal oppression that resonates. (Not rated, 74 minutes).

Summertime

Celebrating the power of artistic expression while spotlighting diverse voices who are too often marginalized, this kaleidoscopic experiment from director Carlos Lopez Estrada (Blindspotting) is cumulatively impactful. It features a collection of verses written by more than a dozen young spoken-word poets in Los Angeles, playing fictionalized versions of themselves in a loose narrative framework connecting their stories about relationships, sexual identity, acceptance, and socioeconomic hardships. The episodic structure is uneven by nature, and some of the more contrived vignettes veer into whiny millennial angst. Yet we can still appreciate the talent and unique perspective of these young creatives as they aspire to enlighten and empower. (Rated R, 90 minutes).