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Terry Gilliam’s “The Man Who Killed Don Quixote” has endured its latest legal hurdle.

The U.K.’s Royal Courts of Justice have ruled in favor of the Jeremy Thomas-owned Recorded Picture Company (Rpc), and against France’s Alfama Film Productions and CEO Paulo Branco over a rights dispute relating to Gilliam’s 2018 film, which starred Adam Driver and Jonathan Pryce.

The dispute dates back to 2016, when Rpc first entered into a deed with Alfama, giving them the option to produce the project. However, Branco and Gilliam’s relationship soon broke down and Rpc eventually gave the option to Spanish company Tornasol, who went on to produce the film, resulting in years of disputes over who owned the rights to the project, amid an attempt by Branco to disrupt the film’s release.

However, in a ruling on Thursday, Deputy High Court Judge Hacon sided with Gilliam and the film’s producers,...

Now arriving at its fourth (and allegedly final) installment, Michael Winterbottom’s “The Trip” series has established Rob Brydon and Steve Coogan as one of the funniest comic duos this side of Laurel and Hardy, but these movies — for all of their dueling Michael Caine impressions and Michelin-delicious meals — have always been suffused with a deep and abiding sense of sadness. They’re not shy about that: The regret, loneliness, and middle-aged malaise come wrapped in a contraceptive of “Philomena” jokes and belittling jabs about Brydon’s career as a “light entertainer,” but the darkness is ever-present, like a backseat passenger these men drive around during their circular road trips around Europe. Instead of a laugh track, every punchline is followed by an existential twang of self-doubt.

Each episode has been a touch bleaker than the last. 2010’s “The Trip,” in which Brydon and Coogan spent a week eating at...

Above: Honor of the KnightsDespite his infamous reputation as an iconoclastic provocateur, the films of Catalan director Albert Serra always seem to come from a place of sincere allurement. The big-wigged canonical figures that have spearheaded his endeavors since his breakthrough in 2006’s Honor of the Knights are, without exception, stripped of their mythical flare and reduced to their most primordial essence. Shown decadent, aimless, and impotent, Serra’s camera lurks behind the characters in an invasive manner that favors framing corporeality and minutiae over traditional characterization. The most basic elements of these iconic on-screen presences are more than enough to showcase a deeper and underlying existential turmoil. Such thematic through lines can be traced all the way back to the filmmaker’s aforementioned riff on Cervantes. Surprisingly in tune with what is generally considered “the first modern novel,” Serra’s deconstruction of The Ingenious Gentleman Don Quixote of La...