A movie both of its time and splendidly outside it

IN A GUTTURAL GROWL, AS IF POSSESSED BY A DEMON, A medieval queen reads aloud a threatening letter that has just been delivered by a gargantuan bark-covered warrior on an equally imposing steed. She faints as she reaches the letter’s final line; the paper drops to the floor and bursts into flames. Cinema! There’s nothing more ridiculous, or more awesome.

There is no lettre flambée, specifically, in the late 14th century poem Sir Gawain and the Green Knight. But it’s part of the embroidery writer-director David Lowery uses to fill out his extravagant unicorn tapestry of a movie, The Green Knight, a detail that makes this ambitious adaptation feel both lived-in and magickal, with all the self-aware grandiosity that superfluous ancient implies.