Notes on Blindness raises fascinating questions about our reliance on visual memory aids and the amount to which we truly experience the world around us.

Zlotowski's Grand Central is a fascinating film on an urgent and seldom-explored situation.

Dafoe and Pattinson bounce off one another brilliantly.

Hard to Be a God is a cinematic behemoth, an unshakable monochrome nightmare of squelching bodily discharges that inhabits a world so noxious you can almost smell the pungent deterioration of humanity as it spews forth from the screen.

Nothing short of an aesthete’s dream, a film crammed with visual bravado that at various times echoes Kubrick, Malick, and Coppola’s Apocalypse Now.

Hotel Artemis is a bold, loud, ambitious film, far cleverer than the bog-standard summer blockbuster fare, and with sharp humour and driving suspense it makes this pulpy-sci fi thriller a very fun watch.

Alfonso Cuarón returns to his childhood for inspiration with the meticulously beautiful Roma, an autobiographical black and white thank you letter full of warmth and love.

With a tightly-woven plot, dazzling cinematography and a razor-sharp cast of characters, Medusa Deluxe is Brit neo-noir at its knotty best.

Poetic realism for a digital age, Tangerine also shares a lot of qualities with the cinema of Mike Leigh and Ken Loach. There's no cheap manipulation here and Baker's characters never come across as victims.

It's a film swimming in symbolism, transgressive eroticism and perplexing details that will infuriate some audiences but for others will add to its irresistible allure.

Its emotional structure, reconstructing Katia and Maurice’s marriage and their shared passion for exploding mountains, feels far more intuitive and lyrical than its linear narrative structure might suggest. In this, Fire of Love is more portraiture than storytelling.

Hawkins smartly keeps the details of Mannings’ leaks – both in their content and the manner of their distribution – to a tight segment at the film’s mid-point. The effect is to create space for the film to explore something altogether messier and contentious – Manning’s identities as a trans woman and a political activist, and the problematic, even dangerous, ways that her private self and public persona relate.

Challengers is, in the end, a fantastically well constructed film with a star-making performance at its centre. Not quite a masterpiece, Guadagnino holds back from fully embracing the potential of his film’s eroticism and style, but Challengers is nevertheless a worthy contender.

31 is a horror show delivered in hammer blows, or 'Whitechapel-style'. You either dig it or you don't.

A fluent, confident and deeply felt work by an astute chronicler of life, Things to Come considers the fragility of ideas when exposed to the eroding force of time in beautifully humane fashion.

For most post-apocalyptic films, the nightmare is really a disguised fantasy. In Michôd's excellent The Rover, the nightmare is real.

There is a vitality and a quiet defiance to this kind of filmmaking that is difficult to resist.

Above all else John Wick is a lean, mean revenger to go with its ice-cold protagonist. It's not perfect, but you'll be hard pressed to find a more enjoyable action movie this year.

Like the Barry Lyndon of martial arts movies, every shot has been composed, lit and executed with such care and attention by Hou and his cinematographer Mark Lee Ping-Bing that The Assassin is totally absorbing in its spectacle, from the meticulous details of the interiors to the astonishing, breathtaking locations, from forests and waterfalls, to mountainsides and in one unforgettable moment cliff tops.

Natural Light illuminates the fading glow of humanity amidst horror.

Nothing particularly unusual or dramatic happens for the first hour of the film, and yet it is so beautifully done and engaging that the whole thing is riveting to watch.

Weiner may now regret allowing such intimate things to be filmed - indeed he has publicly said that he won't be watching the film - but Kriegman and co-director Steinberg have crafted a hugely lively and compelling portrait.

It's a gem of a film to be cherished by one and all.

At almost four hours in length, Mr. Bachmann and His Class is long, but its enormous characters and emotions more than fill the space, headed by an astonishingly charismatic and inspiring teacher in Dieter Bachmann.

In one truly magic moment, Buster Keaton – who had fallen on hard times and was largely forgotten – joins Calvero for his final gala performance. It is a cinematic meeting to be cherished and makes up for the maudlin and wordy melodrama that precedes it.

Behemoth is a stunning and moving denunciation of the situation in Inner Mongolia, where the mining industry is permanently changing the landscape.

Ultimately, Diego Maradona is about the corrupting influence of exceptionalism – swept into the game and made financially responsible for his family at 15, the arrested development Maradona suffers is writ large and ultimately leads to his downfall.

What Philippe does yet again, as with his his previous documentaries, is a bang-up job of examining what makes great films great, and here it is twofold: showing that The Wizard of Oz is not just an all-timer in its own right, but showcasing how Lynch drew on its emotional and cosmic resonance, in overt and oblique ways, for his own iconic forays.