Anna Smith

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.

Moving, bold, unconventional and impeccably staged, The Arbor is a worthy tribute to a powerfully artistic voice.

Well-crafted and compelling, if a little inaccessible to western audiences...

A witty, warm exploration of family life that's conventional and unconventional in equal measure.

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.

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.

Though infuriatingly difficult to categorise, the film is bold, inventive, stimulating and extremely entertaining.

At 134 minutes, the film may seem challengingly long, but the strength of its ensemble cast and unusually evolving narrative results in a satisfying watch that’s reminiscent of tucking in with an engrossing book.

Eerie yet entertaining, it’s Jenkin’s most accessible film so far, while remaining anchored to his core Cornish principles.

As ever with this filmmaker, symmetry is a hallmark, though both visually and narratively, this busy film lacks the serenity and jaw-dropping beauty of The Grand Budapest Hotel. Nor is Isle of Dogs as well-rounded and satisfying as Fantastic Mr. Fox. But as its curious canine cousin, it’s a movie that Anderson fans won't want to miss—as if they could anyway.

In its own restrained way, this drama packs an emotional punch.

Late director Albert Maysles (Gimme Shelter) beautifully captures her personality and her passion for creativity.

A startling movie, I Am Not a Witch is many things. It’s a magic realist fable set in present-day Zambia that has plenty to say about gender and superstition. It’s also a satire, a tragedy and a comedy. And, impressively, debut writer-director Rungano Nyoni makes this heady mix work.

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

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.

The tension dips occasionally but stick with it and you'l be richly rewarded.

Bell goes easy on the preaching and heavy on the laughs without losing her feminist message.

Music fans will love this indie documentary. Try to avoid Googling him before you watch, though.

The vocal cast are great fun, and the animation is smooth and vibrant. Except for a few treacly songs, this is great entertainment for all.

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.

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

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

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

It’s quietly absorbing and fitfully shocking as we experience the sights, sounds and smells of the streets where a one-year-old child can wander around alone without anyone stopping to wonder why.

Finally, a female ensemble comedy that balances realistic characters with smart laughs and side-splitting farce. Not everything works, but there's more than enough here to keep you chuckling - not to mention baying for a sequel.

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.

The young Aprile is a standout in a moving, hard-hitting and surprising adaptation of the Henry James novel.

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

A slick, stylish melodrama with an involving story and a cracking cast. Star Adriana Ugarte is a real find.

It’s a fun setup with a rousing finale that broadly compensates for a baggy middle section (at two hours, the film seems a little too long).

A voluptuous slice of historical drama that will satisfy period fans and Mikkelsen admirers equally.

All cast and crew do an impressive job in making this unlikely proposition such an engaging, thought-provoking and darkly funny watch.

Cute, comical kids help make this ballroom dancing comp-romp a feelgood winner despite inexpert editing.

Despite a few missteps this is a spirited, touching romance and Shailene Woodley’s best performance yet. Divergent fans after a weepie need look no further.

This also marks what may be Allison Janney’s funniest performance to date: her cheerful, outspoken drunk next door is an absolute hoot.

An insight-filled take on prejudice in post-11/7 London that packs a hefty punch.

There are undeniable flaws, from cheesy dialogue to neglected subplots. But there’s something so lovable about The Sapphires’ enthusiasm, and powerful about its moments of tenderness.

The tone balances realism and optimism with the accent on the latter; ultimately Patti Cake$ has the kind of uplifting, defiant-misfit mood that’s easy to compare with fellow Sundance hit "Little Miss Sunshine."

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.

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

A tough but very rewarding watch.

Director Jung Byung-gil (‘Confessions of Murder’) combines a familiar but fun story with slick combat action, whether it’s in dark streets, seedy clubs or underwater.

This freshly 4K-ed masterpiece of German Expressionism deserves to be seen on the big screen. Track it down and be rewarded with possibly cinema's first ever twist ending.

Charming, delightful and amusing - just what you'd expect from the star-studded cast of veterans.

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

This will divide audiences as much as "The Tree Of Life," but it's a brave and beautiful calling card for both filmmaker and star. Drink it up, sit back and think of a very different Australia.

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.

Director Stacie Passion doesn't try to ape Buñuel’s surrealist twist on ennui in Belle Du Jour, instead crafting an enthralling, modern tale in which intimacy is a goal rarely achieved.

Even with a starry cast, the stirring true story is this drama’s standout feature.