Anna Smith

There’s a lot going on here: you never quite know what Maggie Gyllenhaal is going to throw into the pot next, but it’s always visually exciting and often funny.

This family endeavour is an acting masterclass, and we should be grateful that it’s lured Daniel Day-Lewis back into acting after eight years in the metaphorical woods.

The Roses gets off to an enjoyable start, but like the marriage at its centre, the novelty wears off.

While billed as a psychological horror, it may be best approached as a dark drama or thriller, rather than a fully terrifying experience. But if you invest in its characters, it offers a thought-provoking insight into the depths of the human mind when faced with the laws of survival. It’s grim, but good.

As each character veers between confidence and awkwardness, it feels credible but doesn’t dig terribly deep.

With enjoyable characters and smart dialogue, French-Canadian director Monia Chokri makes her dilemma a very entertaining ride.

Sorrentino is clearly trying to move with the times – even if he’s still most comfortable in the decades he’s depicting here on screen.

This is a film equally grounded in realism and empathy, and a reminder that no two people have the same story.

It would have been great to have seen even more myth-busting around weight and health in this doc (presumably that’s covered in her book ‘What We Don’t Talk About When We Talk About Fat’), but Gordon is a funny and frank subject: a tour of her vintage diet book collection is a treat.

Part drama-thriller, part OTT slasher, Pearl doesn’t particularly resolve its internal conflicts, but it does hold the attention.

It’s a believable portrayal of the impact of gaslighting and brainwashing: Alice’s conviction that she’s at fault will resonate with many audiences.

If the storytelling sometimes feels straightforward, it’s more than merited by its captivating story and powerful message.

By leaning into those relatable complexities, Causeway will offer plenty for fans of thoughtful, quality dramas that touch on humanity, trauma, connection and the kindness of strangers.

The Woman King is a story of sisterhood and racial identity that deserves to pack in the crowds. About time, indeed.

The Score doesn’t always strike the right notes, but it has its high points thanks to a simple, rewarding romantic arc.

From Certain Women to First Cow, Reichardt has delivered some deep and powerful storytelling, and seeing her commit more fully to her lighter side is both refreshing and slightly frustrating by comparison. Still, Showing Up is an amiable watch that has something to say about power dynamics, the art world and our relationship with animals – who are used for all their symbolic worth.

Kreutzer has her own style of revisionist feminist history, and aided by Krieps’s bold and brilliant turn, it’s riveting stuff.

Diwan was BAFTA nominated for the film, and it was richly deserved, while Vartolomei makes a luminous heroine full of gritty determination. Their collaboration makes for an atmospheric, gripping drama with a poignant contemporary relevance.

Austrian filmmaker Sebastian Meise manages to find romance amidst the dirty needles and dirty toilets, delivering as many memorable tender images as he does unpleasant ones.

Mothering Sunday isn’t exactly a cheery watch, but it’s an intelligent, affecting British drama with a splash of French sensuality.

Reminiscence has imagination to spare, but it doesn’t deliver the precious memories it promises.

It is an unusual mix of intense, angsty character-driven drama and laugh-out-loud jokes about the film industry. It’ll be best enjoyed by those who live in the milieu it depicts, along with fans of Amstell’s bittersweet wit – and there’s probably overlap between the two.

The kids and Caine are good, but this lacks the magic of its source novel(s). Younger children may enjoy it, but its attempts to entertain older viewers mostly fall flat.

If this energetic, fitfully funny version introduces the story to a new generation, heck, bring on a new ‘Sense and Sensibility’ too.

Alice Guy-Blaché was the first female filmmaker yet criminally overlooked by history – something Pamela B. Green sets out to correct in this educational and entertaining film.

There's little tension or opportunity for emotional involvement in the brief story, and despite competent animation the cats are rarely anthropomorphised to good comic effect. One for anime - and animal - lovers only.

Diop tackles serious issues in the framework of a touching and romantic drama with intriguing sways into genre territory, leaving the viewer much like Ada: a little confused, but oddly bewitched.

While Meg Wolitzer’s source novel is written in Joan’s voice, The Wife resists narration and allows Joan to internalize her feelings, ranging from affection, concern and duty to bitterness and rage. It’s a smart move.