Capsule reviews for May 16

Black Tea

Keeping its characters at a frustrating emotional distance, this muddled romantic drama from acclaimed Mauritanian filmmaker Abderrahmane Sissako (Timbuktu) is a tedious rather than provocative examination of cross-cultural relationships. It centers on an Ivorian bride (Nina Melo) who leaves her fiancé at the altar and relocates to start over in a Chinese community with a large African immigrant population. There, she starts working for a tea shop owner (Han Chang) and finds a new spark. The film draws us in with its sumptuous visuals and deeply felt performances, although the reliance on narrative gimmicks — jumping abruptly between subplots and settings — becomes more distracting than alluring. (Not rated, 110 minutes).

Deaf President Now

Inspirational without turning heavy-handed, this galvanizing documentary offers a valuable civil-rights history lesson along with the power to change moviegoer perspectives regarding disabilities. It recalls the 1988 controversy at Gallaudet University in Washington, D.C., in which the deaf student body vigorously insisted that the campus board of trustees install the first hearing-impaired school president. Chronicling the eight-day standoff through archival footage and anecdotes of those who spearheaded the cause, the film yields eye-opening insight into the condescending oppression too often faced by the deaf community. That’s where the story, with all of its infuriating yet rousing twists and turns, still resonates 37 years later. (Not rated, 100 minutes).

Here Now

Amid some gorgeous sun-drenched Sicilian scenery, the characters and scenarios are woefully contrived in this lackluster thriller from director Gabriele Muccino (The Pursuit of Happyness). Sophie (Elena Campouris) is an American touring Italy with her overbearing sister when she meets an alluring cliff diver (Saul Nanni) and his rebellious friends. With Sophie due to return home the next day, their plans for a special night together go awry when she learns a dark secret. As it strains credibility, the film can’t generate sympathy as Sophie’s innocent naivete and desire to break free comes off as ignorant and foolish. It lacks emotional depth and romantic sizzle. (Not rated, 117 minutes).

Hung Up on a Dream

While paying tribute to the music of English rock band the Zombies, this documentary from director Robert Schwartzman (The Unicorn) also is insightful in saluting their enduring legacy spanning six decades. The film traces the group’s rise to fame during the British Invasion of the 1960s, the creation of hit songs “She’s Not There” and “Time of the Season,” the acclaimed Odessey and Oracle album, navigating volatility within the music industry, and the bond that kept its members together. Making a convincing case that the group has been underappreciated through the years, the film should appeal to existing fans while discovering a few new ones. (Not rated, 116 minutes).

The Kiss

Convincing performances and stylish visuals elevate this handsomely mounted Danish period romance from director Bille August (Les Miserables) above its melodramatic conventions. It’s set during the buildup toward World War I, when Anton (Esben Smed) is a cavalry officer in training who is invited to the home of a wealthy baron (Lars Mikkelsen) after a heroic act. There he connects with the baron’s daughter, Edith (Clara Rosager), who is confined to a wheelchair and emotionally fragile about her condition. As the war looms, their mutual feelings are uncertain. Some clever late twists add intrigue to a story about honesty and commitment that resonates beyond its setting. (Not rated, 116 minutes).

Sister Midnight

With style and attitude to spare, this offbeat Indian satire elicits a playful yet acerbic takedown of oppressive patriarchal customs, even if its ambition sometimes exceeds its grasp. Uma (Radhika Apte) refuses to fit into her prearranged box as a housewife in a cramped Mumbai apartment she’s forced to share with her dull husband (Ashok Pathak). However, her desire to forge her own path prompts a series of dark and surreal episodes that leaves sharp-tongued Uma desperate for an emotional outlet. Emphasizing mood over plot, Apte and rookie director Karan Kandhari skillfully modulate the underlying subtext while not making Uma an easy target for sympathy. (Not rated, 107 minutes).