Pink Flamingos remains a delightfully repugnant cinematic treasure. Watching Divine as she struts her stuff amongst the genuinely dumbfounded residents of downtown Baltimore, perfectly encapsulates with Waters was reaching for with the film.

Okja is exuberant and wild filmmaking.

Clearly modelled on a familiar western narrative, Pablo Fendrik's The Burning (2014) both embraces and playfully inverts the tropes that define its genre classification.

Beneath the veneer of fake tan, rippling muscles and feigned ecstasy lies a striking amount of heart, soul and sincerity of emotion.

Not since Jane Campion’s The Piano has a costume drama presented such a gorgeous view of love from a woman’s point of view.

In arguably a career-topping performance, Timothy Spall plays the cantankerous painter as a complex, grunting, snarling and utterly single-minded creature.

Mulubwa’s performance gives I Am Not a Witch its furious heart, but Nyoni weaves her spells subtly and has produced a film of intensity, satire and grace.

Shiva Baby is ostensibly a comedy yet has all the tension of a thriller. At its most emotionally fraught, it uses the visual and aural grammar of horror cinema.

The Defiant Ones combines Stanley Kramer’s trademark liberal politics with a picaresque adventure that is deftly entertaining, tense and heartfelt.

No Man of God sets out to demystify serial killers and achieves its aim.

With his first big screen endeavour, Patrick, Peaky Blinders director Tim Mielants has crafted as unusual an exploration of grief and loss as you are ever likely to see.

Thompson's strikingly assured and unflinching debut pumps new life into a well-trodden genre.

Archipelago is a sharply observed and excruciatingly honest exploration of family relationships and the mess that we call life. Hogg has proven herself here to be one of Britain's most important film-makers.

With Sorkin's signature whip-crack dialogue driving an astonishingly assured directorial debut, Molly's Game is an exhilarating, superbly crafted crime drama.

Never has the banality of the plight of refugees been laid out so plainly as in this heartbreaking, Kafkaesque documentary.

Quickly paced and oozing with visual ingenuity, The King and the Mockingbird is an off-kilter but enormously enjoyable passion project whose stance as the vanguard of gorgeous, purely hand-drawn animation is as notable as its notorious production.

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

The Forbidden Room (2015) is Maddin's aesthetic nearing critical mass, a whimsical, genre-spanning opus that demonstrates the totality of his enigmatic style.

Tim Wardle engagingly recounts the fascinating story of a set of triplets who were separated at birth and reunited through coincidence when they were 19. The telling however slowly takes a darker turn as facts around the original separation are probed and frightening truths about science and human intent come to the surface.

Both tender and hilarious, Sisters is a raucous romp and complete catnip for fans of Fey and Poehler.

The film is freaky, experimental, sometimes hilarious and unnervingly intense.

Fundamentally, On the Rocks understands that the rich complexity of long-term relationships – both paternal and spousal – can never truly be captured, only gestured towards. The result, on screen, is deeply warm, funny and comforting, and among Coppola’s finest work.

It's witty, smart and brilliantly played, plumbing the sub-aqueous depths of our psyches, our histories and desires.

As with much of Miyazaki’s own output, the film offers a winning heroine and a joyful dip into Japanese folklore, even if it does not stand up against the studios most celebrated works.

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 real success to Ralph Breaks the Internet is how, while having the most amount of fun possible, it’s also able to be cleverly subversive (no longer should the iconic Disney princess be reliant on men to strive) and deeply rooted in its themes of friendship, and all the ups and downs that follow.

Not without flaws, but nothing to get too worked up about, Alita: Battle Angel is cynicism-free, first-class popcorn entertainment spearheaded by a knockout performance from Salazar. A star is born.

It’s wholesale thievery of what is a director’s famed aesthetic, for sure, but it does somehow fit the lyrical and haunting material, often beautifully so. Also, the shallow field of depth used to heighten – and blur – the boundaries between the magical world and the natural world is successful in creating rich atmospheres.