Fionnuala Halligan

Even with an abrupt ending and the sense of unfinished business, Diego Maradona is more satisfying than Kapadia’s previous work.

Byrne pops around the stage like a man rejuvenated, or perhaps one who has never aged, without as much as breaking a sweat. How wonderful for it all to be the same as it ever was.

All This Panic has a refreshingly light touch. These girls can make heavy weather of routine situations yet shoulder enormous responsibilities with grace and good humour.

Jacoby delivers an adroit portrait of the artist at work in a technical package which wraps itself smoothly around this intense, surprising story.

It fields such a disorientating mix of styles and symbols and tonal swerves (Rupert Everett going full fruit, for example), that it’s quite a surprise that Colbert has managed to weave a structured story throughout She Will. But she has.

It’s a piece which is deliberate, but not sterile; disturbing, but too grounded in reality to be truly frightening, even though it probably should be given it attempts to blend the fears of body horror with climate change.

Greengrass is definitely aiming for big-screen entertainment here, and Hanks is the actor to deliver it.

Education is everything, and Mangrove, conventional though it may be, is still a radical step on the way to societal self-examination.

Sad, proud, loud, funny, energetic and affecting, Kiki the documentary reflects accurately the spirit of kiki, the scene.

Co-directors Ainsley Gardener and Briar Grace Smith tell a sprawling story of separation and disposession which feels both intimate in terms of its setting and epic in resonance.

The Eternal Daughter is at its most poignant when it plunges into the personal – in Swinton’s retreating mother and faltering daughter, you can sense the director’s power growing as she continues to acknowledge herself.

New Order may split audiences who require a more conventional approach, but this is dynamic cinema which takes no prisoners outside the hostages on screen: loud and violent, it lures the viewer into a place where there can be no bystanders. In that way, it’s quite magnificent – an outlet for those boiling in our times.

Debut director Geremy Jasper has said Patti is part-modelled on his own life, and there’s a real empathy on display here for her internal and external struggles, a gift which Mcdonald makes the most of in her own debut.

Timoner’s often-compelling documentary, which is neither an apology nor a hagiography, is an intriguing personal take on a man who turns out to be endlessly intriguing, no matter what you think of his antics.

Whether Hill’s debut as a writer-director is drawn entirely, or partly, from personal experience seems a moot point: there’s a sufficient clear-eyed skill to the project to elevate it out of the memoir arena and mark the actor out as a directing talent to watch.

Empire Of Light is a sentimental film – the piano-heavy score from Trent Reznor and Atticus Ross advertises that from the opening bars – but its message of love, tolerance and finding family wherever you can should make an impact in darkened rooms wherever it plays.

Some zinging dialogue and pungent photography are complemented by the two young leads and the late Anton Yelchin in support.

Full of committed performances, particularly from Elba and the impressive young actor Abraham Attah, Beasts Of No Nation is a project of considerable integrity which makes for a consistently-engrossing, if over-long, viewing experience.

House Of Gucci can switch into camp faster than you can swing a bamboo-handled handbag, and will certainly launch a thousand Gaga memes, an element which is accentuated by the random application of chart bangers in the soundtrack. But it’s also unsettling, entertaining, and really quite unusual: like next year’s fashions from a more extreme house, it grows on you.

There’s much here, or in everything we see - which is essentially the film’s subtext - that is hilariously open to interpretation. See how you get on.

Well written, -acted, -cast and -produced, this wholly entertaining yet stingingly relevant story of the 1970 Miss World finals should have been a smash hit when it opened in UK theatres on March 13, but events overtook its release.

Although MEMORY follows some templates of the format, trying to lock Alien into a cultural and political framework, the film itself transcends that obviousness.

Between the highs-and-lows of razzle-dazzle couture there a substantial film here, and a frank portrait of a damaged, evasive man trying to come to terms with what he has done.

Cesar Diaz’s debut feature is both compact and ambitious, distilling its larger themes into the core story of one young man and his secretive mother.

Gitankali Rao’s debut feature is a stunningly realised work of animated film-making.

More than a quarter of a century later, Beauty and the Beast enchants again as a swirling blend of live-action story, stage, screen and sheer, rococo-spun fantasy.

The questing duo has trusted ‘GTA’ and its trigger-happy denizens: they just need to trust the audience a little bit more that this new world can be enjoyed without the same old beats.

Cole, best known for a supporting role in the TV series Peaky Blinders, gives everything to this role. It’s a physical transformation in which he convincingly plays a beaten, battered-to-a-pulp boxer who learns the rules of Muay Thai, but also a deep internal reach to deliver a complex, defiantly self-sabotaging character with depth of understanding.