Matthew Anderson

Its woozy oddity does linger and the process of falling in and out of love may well feel like drowning. But as we come up for air in closing it must be said that the best is surely yet to come from this excellent leading pair and gifted director after this latest underwater outing.

Notturno is a snapshot – in a patchwork of disparate vignettes – that captures the effects of trauma inflicted on and hardships lived by the civilian population.

It is the physical, dogged determination of both mind and body that defines Il Mio Corpo.

With wit, grace and a sincere affection for the town of his birth, the writer-director explores the people and stories that populated his childhood.

Respect and admiration for her work and carefree nature is in plentiful supply but this is not an exclusively glowing retrospective.

Southside with You doesn't leave a lasting impact because it plays all elements altogether too safe.

Humbling, awe-inspiring and frequently head-scratching, like a solar system mobile, Kahn’s film has a bewildering number of moving pieces.

American filmmaker Ryan White, director of the acclaimed Netflix mini-series The Keepers, spins a web of riveting, murderous intrigue in his latest documentary Assassins.

By using the tropes of the coming-of-ager - a rebellious teen and the strained relationship with her mother - as the central touchstone, Bouzid subtly, yet efficiently paints the nascent days of Tunisia's Jasmine Revolution as a force to be reckoned with.

Corbine Jr.’s debut is a lean, disconcerting and impressively shot character study. Hovering on a glimmering knife edge, there are flashes of brilliance here.

Nair gets the very finest from her cast and although like Phiona we can see a number of moves ahead, the director's graceful, heartfelt retelling of this miraculous story makes Queen of Katwe a wondrously uplifting film.

It is told with characteristic precision, compassion and determination by its prolific director.

In Abigail’s longing to see beyond the high valley walls with the kind of scope of an atlas gifted to her by Tallie, The World to Come envisages a future reality not yet visible over the horizon, but shown as the slightest glimmer of light.

Full to the brim with sharp wit, emotional sincerity and overflowing with love, Supernova sees the star power of Colin Firth and Stanley Tucci align.

With his first big screen endeavour, Patrick, Peaky Blinders director Tim Mielants has crafted as unusual an exploration of grief and loss as you are ever likely to see.

The haunting supernatural forces at work in Never Gonna Snow Again are elusive, inexplicable and yet perfectly in sync with reality.

The Ivory Game depicts humankind both at its deplorable worst and at its best. Its burning images will sear through conscience and consciousness but there is faint hope in the lasting hoof-print they leave.

First-time writer-director Blerta Basholli’s feature is an expertly crafted, compassionate testament to the perseverance and defiance of its courageous female collective.

Chief in CODA’s achievements are the dynamics of the very close unit at its core. Coming away from the film, there is the sense that this could very well be a real family.

Given its place and time, Ammonite’s coldness is perhaps apt, but its stiff upper lip may well not do enough to make yours quiver, either.

Thompson's strikingly assured and unflinching debut pumps new life into a well-trodden genre.

There’s much more to Oeke Hoogendijk’s My Rembrandt than initially meets the eye. Taking a close, curatorial look, not at the life, times and oeuvre of the great painter himself, but of contemporary relationships with his work, her latest documentary explores, to great effect, the motives for possession, obsession and ongoing fascination with the Dutch Old Master.

A film that is chock full of insight, piercing ideas and visual metaphors that unfortunately are never fully realised.

Amid the allusions and collisions, jump scares and very close calls, the thrills and spills of A Quiet Place Part II are elevated by its strong performances and a director with a keen eye for this intelligent genre piece whose broad appeal makes for another sure-fire hit. Take a deep breath, and enjoy.

The pacing and lack of incident may detract from the overall emotional investment we have for Horvát’s latest, but in its construction of a murky intrigue, composed visual style and Stork’s exceptional performance, there’s enough to make the journey home to Budapest a worthwhile visit.

Proceeding with a linear chronology to the present day, Castro’s Spies does justice to the long trials and many tribulations of its engaging subjects without ever flying too far off the expected route.

The Nice Guys could well mark the beginning of a beautiful friendship. Black has really thrown the kitchen sink at his latest project and it all works tremendously. Let's hope there's more to come.

Phyllida Lloyd’s strong third feature, Herself, is as much an indictment of the grinding bureaucracy failing to house and protect women abused at the hands of their partners, as it is the men who inflict such despicable physical and psychological trauma.