Cath Clarke

What makes The New Girlfriend special is that is has something to say about sexuality (feminine, masculine, gay, straight, and everything in between – it’s complicated).

You want to know more about what Aisholpan is thinking behind that shy determined smile. But that’s not her way. You can imagine her as the gutsy heroine of a Disney animation.

What will take your breath away is how viciously Armstrong crushed and humiliated anyone who dared to make allegations against him, and that includes former teammates he’d doped with.

It’s raw, funny and incredibly moving.

Newcomer Florence Pugh is like a lightning bolt, totally electric as Katherine, who’s up there with Madame Bovary or Anna Karenina in the literary heroine stakes.

Dreamcatcher is harrowing.

The medical side of things is shown in documentary detail, and it’s fascinating.

The story is a bit predictable and rough around the edges. But it’s heart-on-the-sleeve sweet.

Flower herself remains elusive – which is the point, perhaps, since the perspective here is mostly lovers’ projections written on a delirious high, reconstructed from the letters.

Brilliantly, Schoenaerts almost underplays Roman’s anger, lumbering slowly like a wounded animal, the downward slope of his eyes conveying a howl of rage. It’s an electrifying performance.

Tragedy and slapstick run through the film and it is very funny.

Catching Fire looks and feels epic. Hands down it’s one of the most entertaining films of the year.

A wonderful Maggie Smith plays all this dead straight, poker-faced for maximum laughs. It’s a peppery, unsentimental performance. She’s hysterically funny, till she’s not – flooring you as the regret and tragedy behind Miss Shepherd’s vagabond life is revealed.

Chumbawamba split up in 2012. They’re still mates and come across here as extremely likable, not taking themselves at all too seriously. Scenes of them nattering together, having a giggle now, are lovely.

This is a film with a big heart and an even bigger imagination.

It’s an intimate portrait combined with increasingly shocking footage as his opposition movement comes under attack.

Often music documentaries feel padded out with filler but honestly I could have spent another hour in Copeland’s company.

With a blend of archive footage and re-enactments the film-makers skilfully recreate the urgency, passion and energy of their protest.

The film is a parable about the dangers of blind faith in religion and authority, but it’s also warmly compassionate and accepting of human nature.

Honeyland really is a miraculous feat, shot over three years as if by invisible camera – not a single furtive glance is directed towards the film-makers.

This remarkable film feels like it could become a time capsule, showing future generations what it felt like in 2020 for those on the frontline.

Àma Gloria is a small-scale film, barely over 80 minutes, but it leaves an almighty impression.

How refreshing to watch a film in which the sexuality and desire of women in their 70s is portrayed not as a novelty but simply part and parcel of their lives; and since this French movie is a lesbian drama, there’s two of them – even better.

Tracks might be a bit slow for some, but it’s one of those films that quietly creeps up on you.

Her is a keeper of a film, quietly dazzling.

This is a painful, important film, made more urgent in light of China’s tightening of religious freedoms and human rights abuses against Uyghurs and other Muslims.

This intelligent, honest documentary explores his complex personality without getting tacky or tabloidy, or ignoring McQueen’s dark side.

With her funny, light-hearted documentary, Penny Lane lets the sunshine in, focusing on the Temple’s message of open-mindedness and inclusivity – LGBTQ followers speak of a sense of belonging.