Kaleem Aftab

Not every performance is assured – though Nina Ye is consistently impressive – and the script includes perhaps one twist too many. Yet Left-Handed Girl remains a sensitive and affecting drama that avoids sentiment in favour of more grounded emotional truths.

Harris Dickinson steps behind the camera for a bruising, brilliantly strange debut that channels veteran auteurs like Jonathan Glazer and Andrea Arnold, while carving out a distinctive voice all its own.

Watching this Anderson extravaganza is like assembling a meticulously detailed puzzle: at times frustrating, but deeply rewarding when the full picture comes together.

A fun, bombastic, brilliant choreographed and totally enthralling film.

The hot Latin lovers have been replaced by pink snow, and the homoeroticism has been dialled down, but this is Almodóvar’s America and it’s a delight.

It's first and foremost a teenage coming-of-age tale​, 65 electric minutes​ ​packed with financial hardship, racial demonisation and reggae.

There’s much to admire here, but with Legge’s keen eye for the technical side of cinema stronger than his narrative impulses, LOLA ultimately has to go down as an ambitious failure.

Nikou’s film is brimming of humour and excellent ideas, but is mostly a rebuke to anyone who thinks algorithms and technology are the answer to human problems.

It's such an entertaining film that it's easy to overlook the fact that the comedy only works because it depicts structural racism in such an exaggerated black-and-white manner.

Joyland’s quiet power comes not through melodrama, which Sadiq scrupulously avoids, but its deep affection for its characters. It’s a modern tale of changing gender roles and the patriarchal crisis that could just as easily have taken place in New York.

Athena’s dystopian view of our present day, showing a collapsing world with black-and-white mentalities, selfishly motivated, and with a desperate underclass left angry and adrift, feels like an urgent message. Anyone who loves their cinema to be spectacular, immersive and a rollercoaster ride will soak it up.

The powerhouse denouement is a staggering insight into how colonial legacies continues to affect lives today.

For Pixar, which must surely have a Woody western in mind, it’s a wake-up call. Let’s hope they’re soon back on more fertile ground, because Lightyear feels like that horrible moment when you broke a much-loved toy.