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His reflections finally reveal the dark touch of classical tragedy, which is where this remarkable comedy of manners leads — or, perhaps, what it's secretly been all along.
In the film "Dark Touch," an 11-year-old named Neve, the only survivor of a massacre that killed her parents and brother, finds she has similar powers.
Furniture gets into the act in Marina de Van's "Dark Touch," another film (this one a co-production of companies in France, Ireland and Sweden) in which objects become lethal.
Part revenge fantasy, part psychological horror, "Dark Touch" owes something to the writings of Stephen King and even more to the jaggedly atmospheric cinematography of John Conroy (who worked most recently on the British television series "Luther" and "Silk").
Bearing clear similarities to Mr. King's stories about scary minors, "Dark Touch" circles a terrified young girl, Neve (Missy Keating), whose creepily solicitous parents blame her for the bruises on her baby brother and the violent disturbances in their house.
The eight filmmakers eligible for the Nora Ephron Prize this year are Laurie Collyer (the writer and director of "Sunlight Jr")., Steph Green ("Run and Jump"), Jenée LaMarque ("The Pretty One"), Meera Menon ("Farah Goes Bang"), Mo Ogrodnik ("Deep Powder), Marina de Van ("Dark Touch"), Jane Weinstock ("The Moment") and Enid Zentelis ("Bottled Up").
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Towering above them is the vastly different and dark "Touching Evil," which may be the best "Mystery" of all.
It's dark, touching on topics from rape to PTSD, but if you want something quality to watch this Christmas, this is it.
There are some lovely dark touches: an old man who has pawned his gold teeth five times loses them in the chaos of a rocket attack.
Roger Lloyd Pack is an effective, insinuating Buckingham, and there are some dark touches from Paul Chahidi (who doubles as Hastings and Tyrrell) and from Peter Hamilton Dyer as Brakenbury and Catesby.
Like a pint-sized, almost-cuddly Wicker Man, a dancing straw-clad bear leads this revival of an annual event with some wonderfully dark touches and, naturally, quite a lot of drinking.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com