The setting is Burma in 1962, according to Anegan when it opens. Murugappan, a Tamil laborer, rescues Samudra, the daughter of a wealthy Burmese general, at a local fair. She falls deeply in love with him but her father is adamant against it. However, the Burmese putsch takes place, and Murugappan attempts to smuggle Samudra into India. Mallika, the girl who was in love with the lad, betrays them. The individuals leap from the boat; nevertheless, Murugappan is shot at and Samudra decides to die together with him.

The tale picks up immediately after the conclusion of the previous book, with Madhumitha, a game designer in Kiran’s successful firm (with the frightening name of Tentacles), undergoing regression therapy. The deceased girl’s room is decorated with a poster of Aung San Suu Kyi, Samudra’s classmate! According to Madhu, she has encountered people from her previous life and is certain that she will encounter Murugappan in this lifetime. She does, however, in the form of Ashwin, a systems engineer working in her own firm! She begins flirting with him and forms a soft spot for her while he isn’t ready to believe in past lives.

Meanwhile, after an accident, Madhu retells a prequel to the Kaali and Kalyani tale set in Madras in 1987. Kaali is a tough guy who wins Kalyani’s heart with his purity and goodness, but she has no choice but to marry Ravikiran, a business magnate. The lovers, in their own crazy way, are happy with the results. They elope and flee to India, but they are deceived and murdered. And the murderer might be someone close to them in their present lives, primed to strike again!

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After six seasons of television, a previous film, and a cultural shift that has prompted some of the show’s original viewers to regard the characters’ generational wealth with revulsion and glee, as though it were a wheel of rotten Stilton, “Downton Abbey: A New Era” asserts that change has struck at the Grantham family’s manor. The stately sequence that began in 1912 with the sinking of the Titanic is now entering its conclusion in the late 1920s. On the horizon, a rough sea of modernity is forming. To remain afloat, this pleasant sequel decides to ever so slightly democratize itself: The upstairs-downstairs distinction that has long separated estate owners from their stewards begins to leak.

The most memorable part of Downton Abbey’s roof is the clock, which motivates Lady Mary (Michelle Dockery) to rent the cash-strapped estate to a team shooting silent film producers of “kin-ema,” as Lady Mary’s father, Robert (Hugh Bonneville), calls it, mockingly mispronouncing the name of the art form. (The moviemaking plot point may have been inspired by real-life: The franchise’s filming location, Highclere Castle, which resembles a vampire bat’s underbite, opened its doors to the show after Geordie Herbert, the Eighth Earl of Carnarvon and Queen Elizabeth II’s godson, recognized that many of its rooms were decaying.)

The director, Julian Fellowes, and the “Downton Abbey” creator who also wrote “A New Era,” go on to have their own actors compete for who can deliver the best meta-zingers about the profession. On seeing that her bloodline hasn’t earned its living, snooty Dowager Countess Maggie Smith spits, “I’d prefer to work at the mine.” The obvious reply is that because of her lineage, she has not worked a day in her life which would be an insult against Dame Tuppence Middleton and Allen Leech as devoted parents striving to keep their children from becoming unproductive rich people.

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The theme of “Crimes of the Future,” with Viggo Mortensen, is making art in a destroyed cultural environment and debauched cultural consumption. Photograph by Neon / Everett

The murder of a young boy by his mother serves as the catalyst for David Cronenberg’s new film, “Crimes of the Future,” which is set in an imagined future when humans are ruled by psychosurgery. The film’s location and action are as stylized and abstracted as those of ancient tragedy, and “Crimes of the Future” was filmed in Greece. The death, though, does not provide the drama with its tragic power; rather, it is used as a symbol or indicator of it—a minor narrative element with little emotional impact. “Crimes of the Future” is, in one sense, a conceptual film; it’s more about ideas than people or incidents, and less a drama about characters’ lives than an allegory for Cronenberg’s darkly diagnostic perspective on contemporary criminality, which society commits against itself.

“Crimes of the Future” is a thinly developed dystopian fantasy with characters that are devoid of psychology and context, with no awareness of the social order around them or the history that brought them there; it just shows concepts without providing answers. In this context, it’s a typical “late film” in that it is the first feature Cronenberg has directed since 2014, and what he has to say here he puts on the line with few of the blandishments of popular films or the aesthetic attention of art-house ones. It’s more of a viewing experience than a viewing event. The concepts that Cronenberg explores are strong and affecting; his topic is the struggle to create art in an eroded cultural environment rife with consumerism. It’s the story of eight years of silence, an apocalyptic vision of the end of the road, and the death of everything he’d known.

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