Wendy Ide

It gives heart-in-the-mouth insights into the realities of war reporting, and is a testament to the value – and the price – of great journalism.

There’s a disconnect between her inventive, impressionistic artistic output – Audrey’s actual work is interspersed throughout the picture – and the film’s flat, rather matter-of-fact look.

[An] affectionate, frequently amusing documentary portrait.

While there are moments in which the film’s generous running time starts to take its toll, Bayona’s smart decision to make this a tale of both the survivors and victims brings a nervy uncertainty to the story, even if we all know broadly how it ends.

A chaotic, unpredictable portrait of a chaotic, unpredictable individual, The Worst Person In The World is a spirited and thrillingly uninhibited piece of filmmaking from Joachim Trier.

This is abrasive, confrontational film-making, with a machine-gun assault of ideas and influences.

Lawrence is phenomenal, giving the kind of wary, reined-in performance that made such a compelling impression in her breakthrough film, Winter’s Bone. And the always excellent Henry gradually strips back a character who at first seems wholly at ease with life to reveal layers of suppressed guilt and pain.

A celebration of human endeavour, and of a rare moment of global unity.

Under the party whoops and confetti cannons there’s a deceptively complex and layered portrait of female solidarity in the face of ingrained sexism, racism and general male shittiness.

A heart-pounding heist movie and a bantering conversation between real life and fiction, the debut drama by documentary director Bart Layton (The Imposter) is a great deal sharper – and more slickly executed – than the lunkheaded criminal debacle on which it is based.

This impressive first feature from Indian director Shuchi Talati burrows into the skin of its high-achieving, ambitious central character.

Most intriguing is Strong’s slippery portrayal of Cohn – a man full of sharp edges and wide, swinging contradictions.

There’s a sense of genuinely creative mischief in some of the group’s satanic stunts, as well as a deft understanding of the workings of state legislature.

The film’s approach skirts around the actual science of the Kraffts’ work, but it does explore the psychology of a shared passion, of a couple who melted their boots together on smoking lava flows and danced by the craters in a confetti of volcanic bombs.

It’s a crowdpleasing tale of triumph over adversity which hits its raw highs and gritty lows every bit as emphatically as Turner during her famously electric performances.

Despite the fact that we all know the outcome, and that it’s the third film in as many years to tell the story, Ron Howard’s account of the drama is compulsively watchable and breathlessly tense.

Wells’s bracingly spiky writing vividly draws both the characters and the connections between them.

It’s a wisp of a thing, clocking in at barely over an hour. But the agile poetry and formal playfulness of Mati Diop’s exquisite hybrid documentary belies the weight and wealth of ideas within.

This impressive Israeli feature debut from Ruthy Pribar stars a mesmerising Shira Haas.

Carried by a magnetic performance from Halldóra Geirharðsdóttir in a dual role (she plays both Halla and her identical twin sister Asa), Benedikt Erlingsson’s enjoyable follow up to Of Horses And Men is elevated by wryly idiosyncratic flourishes in its execution.