Ava is a singular vision marking Foroughi as a talent to watch.

For most of his career, Paik was dismissed by critics and struggled financially, but as director Kim amply demonstrates, his work has had tremendous influence on both fine art and popular culture. Moon Is the Oldest TV is at once a celebration of that work and testament to its incalculable value.

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.

Although A Most Violent Year may hit fever pitch when Abel engages in a nerve-wracking chase of a stolen tanker, it's in the murky uncertainties and frosty climate that it endures and excels.

There are moments when Garrone’s vision strays too close to the fable in its narrative even as its images portray a brutal reality. However, Io Capitano doesn’t lose its humanity.

The magical realms of Justino’s stories are echoed in the real world, where spaces are enclosed but liminal, defined by uneasy boundaries that are easily breached.

Though some artfulness is dredged up amongst the trash, there's plenty to perturb and perplex.

As every section seeks to deepen and complicate the basic message of Mountains May Depart - that the incredible speed of technology and society has its prices and dangers - and the failure of the final section dilutes where it should intensify.

There is a great deal to enjoy here for devotees of Strickland’s work and the film feels destined to be described as his weirdest piece yet. But underneath that surface strangeness, Flux Gourmet doesn’t quite satisfy the appetite.

Herzog may shepherd the creative output, but its Kinski’s impassioned misrule that makes Nosferatu, the Vampyre truly terrifying.

It should confirm Nichols' reputation as a mature filmmaker of great tact and intelligence.

If we allow ourselves - as Scorsese asks us - to place ourselves in the shoes of these priests, then we have a graceful film of stoic power, which wrestles with the very nature of faith.

Whatever you take from Hitchcock/Truffaut one thing is for sure: you'll be reaching for a copy of the book and a box set of thrillers at your earliest convenience.

It’s a coming-of-age tale without summer sun that feels all the more formative because of it.

Fukunaga and his actors - especially the two leads - have managed to create a riveting drama which is suitably appalling.

The aimless, wandering of this twenty-something is a little kooky but rarely unfunny, and Côté flourishes as a woman positively drained by the prospect of having to move forward at all.

Petrov’s Flu finds its meaning through sensation, memory and aesthetics, depicting social and political decay in its purest form stripped of the comforting scaffolding of linear narrative.

Despite the multiple viewpoints, Monster is actually the anti-Rashomon, a jigsaw puzzle rather than a riddle wrapped in an enigma. The care and empathy with which the director and writer, as well as the performers, extend to all corners of the piece is extraordinary.

Even magnificent scenery like this can get dull if there’s no invention or novelty to proceedings, but fortunately the six tales collected in the dusty old hardback book The Ballad of Buster Scruggs and Other Tales of the Wild West, complete with colour plates and tracing paper, are packed with originality, poetry and glorious wit.

Rich with scenes of affection and reconciliation, the most charming thing about Fourteen is the degree to which Sallitt finds a balance between his own brand of independent filmmaking and the kind of French middle-class realism he’s clearly influenced by.

Scary and funny by turns, Green Room has the potential to become a cult hit, with a genuine midnight movie appeal, and furthers the growing reputation of this young director.

This isn’t a film about sexual assault as a rare aberration, but about a culture which collectively diminishes any notion of consent and encourages a rush to experience.

Poignantly reflecting the intimate connections humans can create in a short space of time, Chained for Life is a rich and rewarding experience.

A vital and timely missive to a new generation that is as sobering as it is uplifting, all built around a performance of astounding accomplishment.

A hugely accomplished debut, and an innovative approach to filmmaking, Cummings will be one to watch for sure.

Quietly raging, The Assistant is a bleakly precise study of complicity in workplace abuse.

Underground is bravura filmmaking at its most entrancing and its labyrinthine political context only serves to heighten its fascinating appeal.

A satisfying balance of family drama, political intrigue and all-out action (an ape cavalry charge has to be seen to be believed) do, in truth, only constitute half of the story, as Reeves' sci-fi sequel is as much a technical triumph as a narrative one.