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.

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.

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.

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.

Undemanding, observant and beautifully performed, this is Richard Curtis-lite with added reassurance: no challenging questions here.

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

This Indian immigrant family saga is a pleasant watch, but given the emotive source novel, it’s surprisingly superficial.

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.

With good performances and characters, Beginners is an enjoyable, amusing and occasionally poignant watch. Indie film fans will want to catch it, but it falls short of being a must-see.

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

Slow, ponderous, meticulously rendered realism that will appeal to specific audiences of slow, ponderous, meticulously rendered realism, with a heart.

Superficially interesting in many ways but this doesn't really engage on a deeper level.

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

A sad story, but well told, with respect for its subject and an eye for the Shakespearian tragedy in the tale.

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.

Kid-friendly with some neat visuals. Adults will appreciate the dulcet tones of Frasier as the Tin Man.

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

That innocuous title disguises a Mexican thriller with genuine bite, though the hokey ending doesn't quite live up to the edgy plotting and Sigman's classy turn as a tough heroine in an impossible situation.

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