The backstory on Cruella de Vil, the villainess so indelible in Disney’s 60-year-old “One Hundred and One Dalmatians” franchise, is a dark one, but with high-end style, a banging soundtrack and a kitschy snazziness of caricature from Emma Stone and Emma Thompson.

This coronavirus edition of movies to shelter with includes Michel Franco’s dystopian “New Order” and newer fare such as “Those Who Want Me Dead,” but the real news is that the waning of the coronavirus pandemic is bringing The Brattle Theater back to life.

There’s film ahead! This coronavirus edition of movies to shelter with includes Robert Machoian’s taut portrait of an unconventional marriage, “The Killing of Two Lovers”; another love triangle in “Touch”; and less memorable screenings of Netflix’s “Oxygen” and “Woman in the Window.”

In “Army of the Dead,” Zach Snyder delves back into his bag of zombie tricks, and in the process turns the Vegas strip into a hive of hidden horrors counting down to a mushroom cloud.

Cambridgeport’s Rebecca Richman Cohen presents her country- and culture-spanning documentary “Weed & Wine” on Saturday at the Independent Film Festival Boston. After five years in the making, “in the end, it was about family,” the filmmaker finds.

This coronavirus edition of movies to shelter with includes Week 2 of the Independent Film Festival Boston, full of lively musical documentaries and bleakly absorbing procedurals, as well as DocYard features and new films, from the political “Human Factor” to an unwanted “Stowaway.”

“Gunda” follows the seasonal cycle of a sow on a farm, a “Charlotte’s Web” or “Babe” sans the anthropomorphic cuteness that turns the mundane into a riveting, can’t-turn-away event.

The main reason to see “Wrath of Man” is to see Jason Statham’s enigmatic antihero with a hidden agenda do what he does best, and that’s pick apart those evading justice with cold, calculating efficiency.

This coronavirus edition of movies to shelter with includes Questlove’s “Summer of Soul” and other Independent Film Festival Boston fare; the Massachusetts Institute of Technology’s joyously crowdsourced “Collision Shop” and a batch of works from Netflix animation to Shudder lunacy.

Not knowing if you’re going back to a war-torn hellhole or about to begin a promising new life is the situational sweet spot of “Limbo,” which is remarkably droll and witty despite such a serious subject matter.