John Turturro picked the lock to my heart in The Only Living Pickpocket in New York, Noah Segan’s loving throwback to 1970s cinema that draws a major character study from the bustling city streets. Turturro plays Harry Lehman, an old-school New Yorker who thieves his way around the Bronx like a somber magician, using his sleight of hand to survive a changing environment and a dying profession. Borrowing from the character, the film’s writer and director masters the art of misdirection. Segan takes a story that appears a little straightforward on the surface and unfolds it to reveal a cool, character-driven gem.

You may have seen the lustful trailers and horny marketing for Wicker, and make no mistake, the film sprinkles erotic desire all over. However, underneath the creaky broken beds, a much more complex love story springs up. We can’t unleash our desires and be emotionally naked without the risk of heartbreak, but with that terrifying risk comes a genuine chance at feeling seen for who we are. Carrying a basketful of whimsical romance, Wicker shines as a creative expression of desire.

The beauty of Austen’s work comes from her eternally modern themes. Her literary genius is completely mineable for filmmakers to add personalized stamps of their own, and bring their singular experiences to the table. In Oakley’s gorgeous retelling, Austen feels modern as ever. Much the case in Oakley’s astonishing debut feature, Blue Jean, she makes Sense and Sensibility feel both specific to its time period, and thematically timeless. The film immerses you into a painterly world and finds as much sweeping excitement in unspoken gestures as it does in passionate declarations of love. Shaking off the dust collected by traditionally stuffy period dramas, Oakley brings nature into focus with a naturalistic eye.