It has become clearer than ever that the movie year is divided into two parts. There’s the first nine months, which are filled, it seems, with big-audience digital spectacles about men who fly, animated movies about indignant handheld devices and chatty rodents, and all-male comedies about virgins lost in a condom factory. And then there’s the Oscar-focussed final three months of the year, which are devoted to movies about failure, abjection, death, and the Holocaust, most of them starring Kate Winslet or Cate Blanchett.