Said to be the first installment in a trilogy, “Drive-Away Dolls” (Focus), which was originally titled “Drive-Away Dykes” marks Ethan Coen’s solo narrative directorial debut. Co-written by Coen and his out lesbian wife Tricia Cooke (seriously, Google it), “Drive-Away Dolls” harkens back to early Coen brothers films “Blood Simple” (the violence) and “Raising Arizona” (the comedic, rapid-fire dialogue and situations). Additionally, there is the presence of queer characters, something the filmmakers dabbled with in “Miller’s Crossing,” “The Man Who Wasn’t There,” and especially “Hail, Caesar!”

The double meaning of “Fitting In” (Blue Fox), the title of writer/director Molly McGlynn’s second feature film, is a good place to begin this review. Because the main character Lindy (Maddie Ziegler) is a 16-year-old high school, the concept of fitting into the complex and often challenging social situations in which 21st century (or any century, for that matter) teenagers find themselves, the title has that covered with no problem.

One thing you can say about Oscar-winning screenwriter Diablo Cody: she’s consistently inconsistent. Since her groundbreaking screenwriting debut in 2007 with “Juno,” her track record has been uneven, with the misses (“Ricki and the Flash,” “Paradise,” and “Jennifer’s Body”) outweighing the hits (“Young Adult” and “Tully”).

Nominated for two Academy Awards (Best Motion Picture and Best Original Screenplay) and currently sitting at 96% on Rotten Tomatoes, Celine Song’s first film “Past Lives” (A24) is the kind of debut that only comes along occasionally. There are numerous reasons why “Past Lives” has connected with audiences, but it is certain to find a following among queer viewers because the story could just as easily be told from a same-gender perspective.