Ever the craftsperson, rarely the artist, Nolan has constructed a grand and terrible machine, a fascinating object of cinema and a deeply frustrating work of imagination.

The Son, though perhaps not as original and accomplished as The Father, is nevertheless an affecting, empathetic and intelligent drama.

The horror in Knocking isn’t supernatural or down to mental illness: it’s societal. The clever switch in perspective leaves a haunting impression and makes Kempff’s segue into fiction a triumph.

Unlike many of Miyazaki's previous works, The Wind Rises is a film rooted far more firmly in realism. Although it does have its fair share of fantastical dream sequences and magical flying machines.

An epic yet deeply relatable human drama, Blue Is the Warmest Colour offers far greater riches than its public notoriety would have you believe.

Stockholm, My Love is sure to induce warm feelings in those who share Cousins' love of the city, but that peculiarly urban paradox of distance and intimacy will resonate even with those unfamiliar with Sweden's capital.

Ghost Stories is uncomfortably timely, reminding us the haunted past is always haunting the present.

Each set piece is orchestrated with aplomb - a raid on a tunnel under the border being a particular stand out - but Sicario is kept grounded in reality. Villeneuve keeps his focus tight on his small group of characters and though the plot is complex, it fits the Byzantine intricacies of the problem and the obscure motivations of the operators.

It’s a beautiful piece of celluloid that is worthy of its army of plaudits.

Tender, charming and made with substantial care, Next Goal Wins celebrates the cliché that it's not about winning, but the taking part.

Foxtrot is a cinematic delight with a profound message at its heart and many striking shots that resonate long after the final credits roll.

It's a singular and deeply resonant work that finds a mesmerising poetry amidst the chiaroscuro rubble of post-colonial Portugal.

The Cordillera of Dreams is a stirring look at a nation still recovering from the brutalisation meted out by General Pinochet’s callous and paranoid actions, but Guzmán goes further to offer his opinion of the present issues facing the country, specifically neoliberalism’s assault on land, resources and people.

Few of Planetarium's many strands are neatly tied together. There's an ambition to almost every shot as Zlotowski creates a rarified version of nighttime Paris.

With Catching Fire, director Lawrence certainly isn't afraid to bide his time and build anticipation for the truly spectacular (and tropical-tinged) Quarter Quell, patiently reestablishing crucial relationships for maximum dramatic pay-off.

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

Three Billboards Outside Ebbing, Missouri is a multi-layered piece with such swathes of great dialogue that it will no doubt reward - if not demand - multiple viewings. It's also another item of evidence pointing toward a filmmaker getting into his stride.

Amongst the swearing, past gripes and resentments exhibited by wearying central players there is humour, compassion and a great deal more heart and soul than we have come to expect from the rote, by-the-numbers dialogue of Marvels past.

This is a powerful and beautifully shot film of love and survival.

The Oscar-nominated Hedges is, as one would expect, superb in the title role, but performances across the board are excellent.

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.

Mindhorn is a ridiculous comic creation taken to extraordinary, laugh-a-minute heights.

With LaBeouf giving the performance of his career and a well-told story that hits all the right beats, Borg vs McEnroe may just well go down as a great tennis film.

This is a film of ideas, but it's a comedy first, and its boldness is that it doesn't aim to address a pro-choice or pro-life stance - it's about Donna just getting on with it all the same.

My Life as a Courgette is a tender, funny and wise-beyond-its-years stop-motion animation that takes on tough subject matter through the eyes of a child.

Granted, the gratuitous nature of the hyper-violence is not for everyone’s stomach, including mine in moments. What is undeniable is the rigour to which Kubrick conducted his creative team, actors and himself to offer a new approach to filmmaking. As Burgess wrote in the novel “The colours of the real world only seem really real when you watch them on a screen” wholeheartedly matches Kubrick’s graphically engaging ninth feature.

A good two-thirds of Top Gun: Maverick is very solid, if unremarkable, but what really gets it off the ground are its top-drawer flight sequences, staged thrillingly by director Joseph Kosinski.

Using comedy to chase away the despair of modern life, The Other Side of Hope is a thoroughly satisfying and distinctively lovable film.