Jennifer Lawrence’s wildly uninhibited portrayal of postpartum depression has rocketed Lynne Ramsay’s film “Die, My Love” into the awards conversation.

Meanwhile, Focus’ The Phoenecian Scheme, the latest work of whimsy from Wes Anderson, is dryly amusing and features his usual mindblowing production design. But it doesn’t possess the broad appeal of 2014’s The Grand Budapest Hotel, which was his only narrative feature that ever registered Oscar nominations beyond the writing and crafts categories.

Playing an increasingly unhinged young mother with postpartum depression was an intensely personal experience.