Beneath the video nasty hysteria lies a horror of substantial craft and skill. Its iconic synth theme is on a par with the work of Goblin, whilst its rich cinematography makes the very most of the film’s luscious locales.

Sidestepping the question of whether or not shamanic methods 'work' in a scientific sense, Caraballo and Norzi directly depict the psychedelic experience of Ayahuasca itself by seamlessly blending dream and reality into a single stunning whole.

Longinotto's film shines a light on Brenda and her colleagues' important contribution to changing both the legal system's attitude to prostitution, and to the empowerment of women, who are shown that if they want to change their lives, there is someone there who can help them achieve it.

Capturing Neumann’s fall from grace, this film illuminates some of the most hard-hitting professional and social anxieties of our age.

The President has an urgent relevance to all too many countries around the world, including those touched by the Arab Spring; a darkly comic and poignant portrait of an Ozymandian fall from grace and the subsequent damage that ensues.

That Lee has crafted a funny film full of snazzy editing, stylish imagery and a tremendous blues rock score, yet is laser-focused on a very serious subject matter, demonstrates his mastery of the cinematic medium.

Having penned the script herself, July trusts her four actors to provide the goods, which they do. The director is left to concentrate on the construction of this haphazard, seat of their pants, wing and a prayer lottery of a film. And though it feels like it shouldn’t work, it really, really does.

Perischetti, Ramsey and Rothman’s picture is an irresistible treat throughout, an unadulterated confection crafted with wit, vivacity and heart.

Happening is a naturalistic, heart-breaking and relentless account of the multiple traumas and injustices that cascade when women are denied their basic bodily autonomy.

Larraín is as good at navigating the treacherous waters of internal White House politics as he is capturing the moments of intense, if numbed, private suffering.

The same ragtag energy which propels it can occasionally become distracting, and there are sequences in the script which feel gratuitous. However, its independent spirit shines through gloriously, reminding the viewer that, really, a decent story and some talented actors is all that’s required to make a movie.

In its depiction of a part of Europe struggling to keep up with neoliberalism, R.M.N. exposes the dark mirror of liberal, globalised western European metropolitanism.

Director Akay is not messing around with his disgusted assessments of conservative Turkey in 2020.

Most importantly, Red Rocket is a humane comedy, a portrait of romantic douchebaggery and an America of flailing last chances.

Mistress America is, despite it's wobbles and preference for humour over depth, a delightful diversion from Baumbach's typically weighty output and a star-show for the pair of performers at its centre.

Much like the multitude of heady jazz numbers that flow throughout the film, Paris Blues is a cool, breezy and laid-back character-led romantic drama with strong turns by the four likable leads, not least the late, great Paul Newman, effortlessly exuding that trademark piercing blue-eyed intensity and magnetism.

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.

The stakes are upped and character count doubled, but this doesn't mean attention to detail is spared. The visuals are sublime with different animation styles used to tell different stories.

While Chastain, and the surrounding cast, drive the narrative there is no denying that as time runs on it begins to unravel frustratingly, reaching an unsatisfying conclusion. Yet, Chastain's performance is one that lingers in the mind.

Wilder’s supreme skill at balancing light with dark is almost unsurpassed, and is the perfect fit for the chameleon-like talents of both Lemmon and MacLaine.

True Grit’s brilliantly crafted moments of wild and frenzied action, hilarious dialogue (courtesy of Portis himself) and beautiful cinematography (from cinematographer Lucien Ballard) helped it to compete with the hugely popular film’s of Leone.

My Father, Die's pummelling violence and existentialist leanings would be too absurd if set in County Kerry or County Mayo, but the doom-filled lyricism - its bloodied, weary soul - might best be described as Beckett with gunplay.

Iran is a complex and bureaucratic country, but it is also the role of social media and so-called ‘fake news’ that lend A Hero a contemporary relevance, even as it feels like an ancient morality tale.

The pint-sized simplicity of this acutely well told and acted tale should not be underestimated.

The film is both a biography of Cave's life and a beguiling vision of a musician considering the meaning of his own art.

It's a feel good movie but also a refreshing blast from the past, expressing a nostalgia for a time when political quietism and apathy had not won the day and a Billy Bragg song made more than historical sense.

Kreutzer employs a variety of subtle anachronisms – servants wearing modern glasses, a concrete wall here and there – to allow herself and Krieps the freedom to introduce a modern sensibility that sticks a middle finger up at the polished production design of most films of this genre as casually as Elisabeth does at the decorum of her courtly life.

Unlike some of the other blaxploitation titles from that time, Foxy Brown is more than just a curio piece. That’s partly down to its iconic lead, but it’s also due to a strong feminist attitude which exists within that riotous, eager-to-entertain, exploitation framework.