A vital new cinematic voice and an influential master transform their own experiences of the trials and tribulations of growing up into richly resonant art. Shola Amoo’s semiautobiographical THE LAST TREE employs a swooning visual style to immerse viewers in the world of Femi, a young Nigerian British man navigating his conflicting identities as he comes of age in early-2000s London. Heralded by some as a British answer to MOONLIGHT, it also contains direct nods to François Truffaut’s defining portrait of adolescent turmoil THE 400 BLOWS, the French New Wave touchstone that introduced the director and his alter ego—Jean-Pierre Léaud’s Antoine Doinel—to the world.