Phuong Le

Bloody, action-packed and tragicomic all at once, this dazzling coming-of-age tale masterfully contemplates the knotty process of coming to terms with past traumas through a horror-fantasy lens.

It purports to be a “cinematic meditation” on the havoc humans have wreaked on the environment, yet the style-over-substance approach reduces these eco-conscious contemplations to a mere exercise in aesthetics, without any social or political context.

A Prince might reinterpret the pastoral through a queer lens, but the point of view remains a white, French one.

Despite its flaws, See You Then is an interesting opportunity to see trans talents in front of and behind the camera.

An adrenaline-pumping action fest that is ironic in many respects, Vengeance Is Mine, All Others Pay Cash swerves towards the mystical and the spiritual in the latter half, becoming a earnest and potent critique on the trappings of masculinity.

The recurring dependence on sexual violence as a shock tactic is, however, a desensitising misstep. Nevertheless the assured command of style situates Jabbaz as an impressive new voice in horror cinema.

Juggling palace politics, magical animals and medical ethics, The Deer King can’t get over major pacing problems: the emotional moments are not given enough time to land, as the plot rushes to its next world-building intrigue.

Thanks to the breezy chemistry between its largely Inuit cast, Slash/Back has an endearing charm that is hard to resist. From a first-time film-maker, this is a fresh, entertaining update on well-worn tropes.

Instead of letting the visuals do the talking, the voiceover steps in to verbalise the characters’ feelings, and the need to provide multiple backstories through flashback veers into over-exposition. Still, Departures remains a highly thoughtful exploration of love and identity, and an excellent showcase for northern talents on film.

Despite beings shaky in terms of tone – as well with its occasionally obtrusive handheld camera movements – Lola impresses with its refreshing blend of analogue and digital flourishes.

Believable performances, along with a deep understanding of place, lend Drunk Bus a cheeriness that is entertaining and heartwarming.

The film still feels a tad long for the simple narrative it offers, but moments of visual ingenuity and a deep understanding of psychological suspense show that Kempff is one to watch.

The refreshing – and rare – blend of Jewish humour and horror makes Attachment a fun Valentine’s Day watch for those who like their queer romance with a sprinkle of spooky chill.

Forgettable story aside, the film is a visual treat, full of joy and zaniness.

My Sailor, My Love is worth watching for Walker’s excellent portrayal of a woman on the verge of a nervous breakdown and the damage accruing from being the perpetual caretaker of the family.

While occasionally emphasising that film-making is a collaborative endeavour, this is a cliche-ridden affair, reiterating the myth of the genius director whose pursuit of perfection is worth the detrimental effects it has on the cast, the crew and even the film-maker himself.

Too hip for its own good, the film ends up going nowhere. Only of interest, perhaps, to hardcore St Vincent and Brownstein fans.

The kooky premise of Jumbo – a young woman falling madly in love with a fairground ride – might invite bafflement but Zoé Wittock’s idiosyncratic comedy-drama is an entertaining blend of sensory overload and sincere empathy.

At nearly three hours long, The Wandering Earth II is packed with expository science talk, which gets more convoluted and tiring as the clock ticks on.

Running a little bit over an hour, it feels like an underdeveloped short that has overstayed its welcome.

Cardboard characters aside, Elevator Game is also pretty sluggish, despite its relatively short runtime. Plodding through an endless string of dull shot/reverse shots between the quarrelling vloggers, the film finally reaches the dreaded fifth floor, but the payoff is tame and bloodless.

Edge of the World fails to do justice to this fascinating and deeply complex chapter in British colonial history.

Despite its obvious desire to push buttons, Animal doesn’t have the guts to actually own its transgressions.

It’s a shame that, for all of its unnerving tonal registers, not to mention a gorgeous score, Agony winds up with a painfully predictable ending.

The deft camerawork showcases a dynamic Ethiopia – from tiny villages to the gritty underbelly of bustling Addis Ababa – and, let’s face it, everyone loves a good training montage.

This underdog, coming-of-age sports movie has a big heart but lacks the competency to execute its aspirational premise.

Plurality could have put a fresh twist on big-budget Hollywood efforts, but falls flat on both the production design and the narrative front.

Here is a film that accomplishes the difficult task of capturing the heroic trials of its subject without overly valorising and mythologising the real person.