Catherine Bray

Serving as co-editor as well as writer and director, Emiliano Rocha Minter is very much the author of all the chaos wrought here, and his thoroughly arresting vision could squat quite comfortably alongside Hieronymus Bosch’s depiction of hell.

Despite Zellweger’s appealingly warm, vulnerable performance, the film itself is a mixed bag.

It’s heartening to see Ransome’s fiction taking on a new and more independent form, suggesting an ongoing relevance for a series of books that could easily be viewed as too dated for modern children. As the kids put it: Swallows and Amazons forever.

A late third-act turn into sentimental territory, in which the original show’s misanthropy is sugared up, may feel artificial to viewers drawn to the series’ persistent despairing streak; still, it makes a certain sense given that the film would otherwise entirely lack an emotional arc.

The fictional character Huppert creates is simply so lived-in and plausible that to insist Michele react differently to her own lived experience would be as obstinate as insisting that a person in real life cannot possibly feel the way that they say they feel. Whatever your take, it's a film that will inspire debate for decades to come.

Raw is a deliciously fevered stew of nightmare fuel that hangs together with a breezily confident sense of superior craft.

In her aces debut feature Divines, Houda Benyamina has what ought to be a career-making film on her hands.