Haigh and his cast, including Paul Mescal as Adam's new lover, give this film about loss, enduring love and hope for the future such truth and poignance that it is easily among the best of the year.

Widely regarded as the best excursion for Jacques Tati's alter ego Monsieur Hulot, this whimsical comedy builds on the work of American silent stars like Charlie Chaplin and Buster Keaton, to produce a French variation on the art of slapstick.

By turns funny, sad and romantic, it's a work that confirms Ray's formidable reputation as a world film maker of the highest order.

It's boldly imaginative and his most mature work yet.

The searing Paths Of Glory continues to impress with its striking blend of formal brilliance, economical storytelling and emotional directness.

This comedy gem features some of [Chaplin's] funniest scenes, including him eating his boot.

A comic epic, Hidden Fortress focuses not on the high drama of the aristocrats' escape, but on the slapstick antics of the faint-hearted peasants as they whinge and moan their way through the countryside.

Sensitively written and acted, beautifully shot, and with a charming, sparingly used score, Minari is so engaging that it's easy to forget how radical it is.

Marty Supreme has such scope, ambition and humour that its flaws, as with those off-screen Timmy exploits, are easy to overlook.

It's a film which shimmers with intelligence, and if the plot isn't clear until the very last scene, well, it's worth the wait. When that scene arrives, the purpose of every previous scene snaps into sharp focus, leaving you with the urge to go back to the beginning and watch the whole thing again.

It's a great comedy, with a message that works in context, the flophouses of life's downside contrasting with Hollywood's absurd hedonism.

Originally shot in black and white, then switching to CinemaScope early in production, Rebel Without A Cause is a brilliant, iconic movie.

A witty, playful intelligent film as enjoyable as it is influential.

This is one of the truly outstanding works of post-war European cinema.

Full of haunting, iconic images and a touch of hopeful humanity, The Seventh Seal is cinema at its most artful, a philosophical meditation on the meaning(lessness) of this mortal coil.

Leigh's strategy of taking us into his characters' world without prelude or explanation, letting the revelations and backstory waft out, help make his films feel authentic. He seems to have a magical ability to make the everyday captivating to watch

Adapted from a melodramatic novel by James M Cain, it is a magnificent blend of film noir and feminine soap, glossily crafted by Michael Curtiz whose versatile achievements included Casablanca and Yankee Doodle Dandy.

Lanthimos may get carried away, but the results are daringly outrageous and often hilarious.

Director David Lean achieves a fine balance of creating complex characters from a fine cast, while keeping the pace up throughout this long movie.

Watching the film now, almost half a century after its first screening, it's easy to see why it upset so many people "Cairo Station" is a pressure cooker of lust, jealousy, and psychosis.

Withnail & I has an air of authenticity only reality could give, and Robinson could only tell MacKerrell's story once. There could never be another Withnail.

The film takes place largely in two down and dirty rooms, the recording studio and a basement where the band rehearses, but it doesn’t feel stage bound. Wolfe finds the right balance between letting Wilson’s trademark monologues flow and shooting them in a cinematic way that keeps the film moving.

McDormand’s commanding, deeply empathetic performance holds the film together. She is so convincing and unaffected that it feels as if Fern is another non-actor whom Zhao magically gets to be natural on screen.

It has the ring of a tall tale that has been told in pub after pub, gathering weird new details every time, until it has become a part of Irish folklore. It's a story that you'll want to hear – and tell – again and again.

Reed's take on the material is innovative, letting realism blur into an anaemic, soul-searching delirium.

Across the Spider-Verse leans into the artificiality of its world: its central, postmodern concern is how the multiverse will be affected by the tangled web of various Spider-Man narratives. If you don't happen to be a universe-hopping comic-book superhero, it's hard to relate to any of it.

The Kiwi native proved he had more up his sleeve than trashy schlock.

Black Narcissus has an erotic charge that's to this day been so often lacking in British cinema.