Ben Nicholson

Bold in ambition and delicate in execution, it will break your heart and then piece it back together.

Intolerance may not be perfect, but with such gargantuan spectacle and timeless mastery of form on show, it is nigh on impossible not to be swept up by this centruy-spanning extravanganza and its medium-shaping impact.

Comedy is used to undercut the most horribly tragic of moments...given the sadness all the more pathos and offering glimpses of hope in a narrative resistant to catharsis.

Throughout, Ozu strikes a touchingly profound note whilst imbuing proceedings with his usual playfulness.

Nothing is too much, and whilst there is the danger that some will find the unremitting havoc tiresome, Miller's endless innovation keeps things fresh despite the surrounding wasteland.

A highly original and utterly enthralling film that touches on staggeringly expansive themes - more typically expected in the work of master auteur and persistent award-winner Terrence Malick, than from animations.

Taking Eastern watercolours as inspiration, the aesthetic is impressionistic and painterly with a fluidity that imbues the piece with an intrinsic magic.

Johnson is pushing the audience to see these images as a dialogue between herself and these subjects, both in the frame of her representation of them and their impact on her.

Diaz's From What Is Before is an enthralling, thought-provoking, elegant and tragic wonder.

Despite being one of his most ostentatious films to date, the setting, plot, performances and authorial tone on display marry together seamlessly to simultaneously heighten and smooth his trademark style.

Where Tan describes the process of making Shirkers as an exorcism (presumably of Georges), the final product is more akin to a séance, a communion with a lost soul keen to still be heard from beyond the veil.

The Duke of Burgundy lingers long in the mind and cements its director's much-deserved place as one of the most exhilarating currently at work.

Force Majeure is a gripping and deftly observed drama that adds caustic condemnation through its embracing of humour.

Brilliant and moving stuff; another hit for Abrahamson.

It’s meditative, beautiful, utterly fascinating, and one of the year’s finest documentary achievements.

Grant is absolutely superb as the impassive Geoff.

Throughout, each of Ilo Ilo's performers give wonderfully naturalistic turns, providing the entire film with a heartening authenticity.

It's a film swimming in symbolism, transgressive eroticism and perplexing details that will infuriate some audiences but for others will add to its irresistible allure.

The dark recesses of a diseased mind may make the headline, but it is the indictment of far more widespread infection that rings out and is striking in its prescience.

It's a singular and deeply resonant work that finds a mesmerising poetry amidst the chiaroscuro rubble of post-colonial Portugal.

As with much of Miyazaki’s own output, the film offers a winning heroine and a joyful dip into Japanese folklore, even if it does not stand up against the studios most celebrated works.

Weiner may now regret allowing such intimate things to be filmed - indeed he has publicly said that he won't be watching the film - but Kriegman and co-director Steinberg have crafted a hugely lively and compelling portrait.

'71 is a pulse-raising actioner that stumbles a little in navigating the typically hazardous political terrain.

Its specific frame of reference sees it build to a bleak and powerful conclusion, if one devoid of much hope.

The languorous pacing - particularly in the middle section - may lessen the impact on audiences somewhat, and the two-hour runtime seems a little much, but this is important, harrowing and deeply heartfelt lament that deserves to be seen and most definitely heard.

Certain Women is a deft masterclass in humane open-ended observation, crafting subtle portraits of three Montana women overlooked and hardy in their own individual ways.

It's impossible not to be sucked into, but it's equally impossible not to imagine how much more significant No Home Movie might have been.

A sense of humour and nostalgia are both employed successfully to skirt the potential inertia of Paul's slowly declining career, and though de Givry's performance is quietly moving, one may have just hoped that Eden would get under its subject's skin a little bit more.