Marina Ashioti

As an artefact of the invaluable intersection between artistic effort and pragmatic resistance, All the Beauty and the Bloodshed is a testament to the dialectic of form and content, of artwork and social reality as a crucial, actively-engaged site of political struggle, an apt battleground in the fight against all-pervasive capitalist monoliths.

The film’s tender emotional core is its greatest asset, which is enhanced by inventive tonal shifts and complemented by incredibly fleshed-out characters, a uniformly brilliant cast and naturalistic dialogue that keeps it from lurching into the terrain of sterile realism.

Three Minutes culminates in a contemplation of its central paradox: “The absence in the presence”. It provides a vital memorial to the people whose lives have been lost to time, revealing the significance of preserving film as much as preserving history.

All the ingredients here are invaluable, and the film’s vision comes alive with a real sense of hope about the soul of Chile and its thirst for change that’s palpable, not imaginary.

Filtering the tale through Lamia’s childlike whimsy allows the colourful, polished cinematography to sing.

Long takes, discursive monologues, slow pans and stylistic shifts allow the directors to forge an inventive cinematic language out of political consciousness; one that eschews the narrative codes of Western cinema, as it blends fiction and documentary, immersion and observation, to provide a multilayered embodiment of marginalised womanhood in contemporary Brazil.

Touzani steers clear of easy clichés and pitfalls that the film’s premise might suggest, giving a masterclass in restraint. and it’s Azabal’s exceptional portrayal of Mina, rather than Bakri’s Hamil, that emerges as the film’s beating heart.

All we can do is refuse to look away. In bearing witness, we can regard the pain of others as our own.

What we can do, like these journalists, is bear witness to the pain in the hope that it transforms into an urgent, rallying cry, and address our universal capacity to connect with the pain and suffering of others.

Huezo’s background as a documentary filmmaker is clear in the way this debut narrative feature so solemnly and matter-of-factly observes a community that exists beyond this fictional ‘slice of life’ representation.

The tight framing ensures we never lose focus of the anxiety gnawing away at him, while small gestures of humanity are balanced against the harshest measures our punitive society can impose.

Afire culminates in a magnificent and poetic study of subjectivity, exploring the isolated anxieties of creative labour and a simultaneous entanglement of superiority and inferiority complexes, adding another compelling and precise layer of texture to Petzold’s multifaceted oeuvre.

Despite an excessive 150-minute runtime, a fair share of abrupt tonal shifts and a somewhat heavy-handed execution of metaphors threatening to rob the anthology of power and cohesion, the dramatically consistent depictions of contempt, grief and rage bring an adequate sense of uniformity.

The film’s spontaneous spirit is muddied by a sense that some ideas are retroactively staged . . . but what ultimately stays with you is the actor duo’s commendable ability to find inspiration and poetic gravitas in silliness, horseplay and tomfoolery, even (and especially) in the darkest of times.

Each shot is framed with tenderness, and the rapport between Cave, Ellis and Dominik is a palpable testament to the depth of their trust for one another.

The mixed media technique cuts through the film’s naturalism to bring forth something felt and ineffable, akin to the rich, vivid worlds within children’s imaginations, as well as the haziness with which we recall childhood memories.

Its observational mode keeps it from being didactic or manipulative in any way, and it adopts an intimacy that evokes the deepest empathy. Luma’s pain is never spectacle.

By capturing the culture of fetish, party and riot, feminism, sex and politics, this unique blend of styles offers a fitting representation of a punk subculture that gave ’80s queer and feminist activism its vibrancy.

Guzmán wistfully laments his long absence from his homeland and the circumstances that led him to flee, imbuing his reflections with a tangible sense of mourning.

It culminates in a bold exploration of transness, womanhood, Blackness and the sex industry, providing thoughtful and intimate insight into these material conditions and the breadth of experience that lies behind them.

It’s a film that is firmly grounded in the geopolitical specificity of Cluj, exploring ethnic tensions, economic inequalities, legacies of totalitarianism, the brutality of capitalism and the destructiveness of real estate – yet it’s through this local context that Jude gets to dig deep into the contradictions of our globalised, neoliberal world as the all-pervasive cultural and moral rot continues to spread.

As well as boasting an all-female crew, Martelli’s film exquisitely evokes Carmen’s muted revolutionary spirit, making for an invaluable demonstration of feminine revolutionary cinema.

Haapasalo uses warmth, respect and empathy as her modus operandi, allowing her trio to wade through the liminal cusp of adulthood – no longer teenagers, yet not quite young adults – as they search for meaning through friendships, fleeting situationships, and budding romantic connections.

No two trans stories are the same, and it’s validation, empathy and community, rather than Donna’s achievements, that make up the cornerstones of the film.

Ultimately, Once Upon a Time in Uganda would have benefitted from diving much deeper into the making of the studio’s many iconic productions, but by mirroring Wakaliwood’s lively, exuberant energy, still comes together as a thoroughly entertaining crowdpleaser.

A lived-in naturalism creeps in as the camera is constantly kept at arm’s length. At its most effective, this style enhances the honesty, intimacy and intensity that guides the riveting narrative. Yet as the film progresses, it elicits a rather unwelcoming distance and impatience that make it difficult to remain totally immersed.

Stylistic absurdity, on-the-nose satire, delightful gore and ruminations on the abject monstrous feminine provide a great formula that elevates Hatching, while the outstanding camera work, lighting, detailed production design and sharp editing make the film all the more impressive.

Garbus never tries to conceal Cousteau’s flaws. For her, in order to understand where we are now, we first need to understand where we came from, and Cousteau represents that touchpoint.

Hopkins eschews spectacle and sentimentality while also doing away with inventive storytelling devices. A character-driven, verité approach provides a deft-enough framework to handle historical sweep and intimate moments between the club members with equal steadiness.

Unfortunately, Disco Boy is afflicted with the curse of trying to pack too much (in terms of both style and substance) into its 92-minute runtime, rendering it incapable of saying much at all.

Lentzou is certainly onto a winning formula, but it’s Kokkali and Georgakopoulos’ superb performances that ultimately make up for Moon’s shortcomings.

The first half of You Resemble Me is gripping in its neorealistic, social realist approach.

British-Moroccan filmmaker Fyzal Boulifa’s second feature borrows the title of this Crawford vehicle and retains its melodrama, only to portray an otherwise entirely distinct, compassionately-crafted survival tale.

The duo’s Indian collaborators are largely absent though, and it all comes together in a rather shallow, often frustrating attempt to bottle up a significant piece of late 20th century film history, devoid of that touch of Merchant Ivory movie magic.

Its strengths and richness lie more in boasting a potent mix of universality in its rebellion against entrapment within societal ideals of self-worth, as well as cultural specificity and pertinence apropos the impact that white evangelists have over the political landscape in modern-day Brazil.

It’s the enigma of Marc-André that makes this such a compelling documentary.

Sweetheart doesn’t rely on traumatic storylines and narratives of victimhood to make its audience care about AJ. Her journey isn’t straightforward in any way, but it’s instead relevant and reflective of the queer Gen Z experience. Sometimes there is no resolution. Things stay messy, and that’s okay.

It struggles to find nuance in its storytelling approach.

The performances at the core of the film are stellar, and it comes as a surprise to no one that Andrea Riseborough gives a pure dynamite turn, contorting every inch of her face and body as the carnivalesque Suze.

Ayouch means well, interpreting the teens’ connection to rap music as emblematic of a rebellious spirit, yet deeper discussions on other social issues – politics, women’s rights, religion – are unfortunately reduced to mere sources of frustration, either ending abruptly or remaining incomplete.

Bilal Hasna shines as Layla, delivering a magnetic performance, but unfortunately the same can’t be said for the rest of the cast, who fall victim to the contrivances of a script that was maybe taken out of the oven before it was fully cooked.

Kramer fires on all cylinders in terms of imagery and tone – both are perfectly executed and entirely captivating. Aesthetically, this experiment proves to be a masterful exercise in high camp.

Sebastian gradually transforms into something more substantial when reaching towards a point about the cross-generational relaying of queer histories, but ultimately is too preoccupied with constructing a shallow character study to delve into more nuanced terrain.

Arbitrary continuity errors, heavy-handed symbolism, an agonisingly laborious pace and shallow characterisation leave a sour taste in the mouth, especially as the payoff is not gruesome enough to justify the means that get us there.

By transposing the video essay format to a feature-length affair, Philippe attempts a union of theory (criticism) and practice (documentary filmmaking), and so the very ontology of Lynch/Oz becomes a subject of fascination in its own right.

Perhaps the demand for super low-stakes, “turn your brain off” studio comedies where the only point is cathartic laughter will one day return. It brings this writer no joy to report that No Hard Feelings isn’t the film to usher in that era.

This low-on-dialogue, low-on-action, high-on-atmosphere feat is deeply cinematic, yet begs the questions: is there anything new to be said about World War Two, and is Nagy’s effort enough to stand out in this terribly overcrowded genre? The answer, alas, is no.

In River, the waters soon turn murky as context is largely omitted in favour of exquisite yet repetitive aerial imagery depicting astonishing natural landscapes, tidal currents, and elemental forces.

To add insult to injury, just when things are finally about to get nasty, a character effectively sits us down for a tedious exposition dump that explains the whats, whys and hows of it all. It’s this very lack of trust in its viewers that comes as the film’s most upsetting development.

In spite of its trite predictability and overlong running time, it’s clearly a loving tribute with its heart in the right place, but the source material was perhaps treated with so much respect that the portrayal of the relationship fails to generate any heat or emotional intensity.

At least there is dedication to the spectacle of practical stunt work, owed to director Jonathan Eusebio’s background as a seasoned stunt performer.

It’s with a strikingly minimal amount of dialogue that Haider Rashid’s Europa poignantly evokes how those bearing the brunt of state violence enter a physically and emotionally soul-destroying state of purgatory.

With five decades to plow through, director William E Badgley manages to skilfully compact the Rebel Dread’s political awakening and leftfield creative escapades into an insightful document of an integral fragment in British pop history.

If we look past the obvious limitations of a shoestring budget, we find a gift: a lovely, tactile film with such a nuanced depiction of the ever-shifting tides of mother/daughter dynamics, overflowing with love and care as much as it is with a vibrant colour palette and gorgeous textures.

Fiori exemplifies both an excellent command over form, as well as a great affinity for poetic storytelling, using all the tools at her disposal to get to the devastating truth at the core of the film: that instead of providing the necessary support to underprivileged children trapped in generational cycles of incarceration, the Italian state chooses to criminalise their behaviour.