While it is serious, Hogg also manages to insert some oddball humour and a little hopeful levity into the proceedings. The fractures provide the absolutely riveting subject matter, but Exhibition shows the potential for healing and confirms its director's place at the forefront of intriguing British filmmakers.

It's a film that prompts an overwhelming emotional response as it weaves its dark magic.

A Jarmusch joint through and through, The Dead Don’t Die is as charming, affected and perplexing as we’ve come to expect from the long-time darling of US indie cinema.

Francofonia is a chatty and occasionally brilliant rumination on art, history and death.

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.

Tarkovsky possessed a sensibility for, and mastery over, the cinematic form that few directors – before or after – have been able to match; a mastery evident in almost every sublime frame of Mirror.

Kurzel is a master at building tension of a tragedy foretold.

Drily narrated by Udo Kier, Hitler’s Hollywood is not a film about the rise of Nazism, nor even a linear history of the era’s cinema. Rather, it seeks to capture its spirit, interrogate its aesthetics and finally, to try to understand the insidious power of its propaganda.

The film is a bravura depiction of the harsh brutalities of war that, though monotonous, is an entirely rousing entry in the annals of great WWII cinema.

The final few minutes will baffle some, infuriate others, but it will also be the wildness of the imagination which will have you pondering Evil Does Not Exist long after it has ended.

The slow burn lead-up may not be to all tastes, but if you can tune in to its broadcast frequency Midnight Special will shine its light on you too.

There’s no revolutionary moment of success in which the meanies are ousted and hip-hop declared godly. Music is like education in this: it’s all about the movement, not the destination.

A brutal, crackling and savage Hollywood satire Maps to the Stars knows exactly where it's going, carefully breaking every rule in the book. After carefully constructing his crystal kingdom, Cronenberg launches his stones with dark, mischievous joy.

Memoria is gloriously weird and it has that most magical quality of making you look at things in a totally different way.

Pig offers something strangely tender and even sometimes lyrical, wrapped up in the trappings of a noirish thriller that is as much a satire on the meaning of value and social status as it is a straightforward revenge film.

Comedy is used to undercut the most horribly tragic of moments...given the sadness all the more pathos and offering glimpses of hope in a narrative resistant to catharsis.

For a film that looks at a believably nightmarish future, The Congress sits out of its time; a feverish relic of a post-revolutionary cinema of the mind that attempts to transcend the confines of a bloated filmic space that appears no longer interested in discourse, and would rather parley its audience into a stupefied boredom.

Second Spring is a film about endurance and acceptance, tackling its subject matter with quiet poise where a lesser film might have fallen to mawkish sentiment.

While there is the odd bum note, The Jungle Book is an immersive, visually breathtaking family adventure and a welcome addition to their new spate of live-action reimaginings.

The film uses the Troubles and Brexit to frame its understanding of the past and the present. Brady suggests a liminal psychological space – much like the liminal political space that Brexit created – through which Lauren and Kelly’s traumas move and, perhaps, can be understood.

Quieter moments do punctuate the tension - though the mood never sheds the lingering stench of impending death - and the characters are allowed time to breathe and inject a little colour to their long-standing relationships.

Calm with Horses’ driving concern – the corrosive nature of violence on the self – is rendered in brutal, empathic precision, while the recovery of its protagonist’s humanity as it teeters on the cliff edge is simply heartbreaking.

Undoubtedly flawed, Freaks is also admirably bonkers and quite simply unforgettable.

This magical piece of family-friendly escapism could well be the perfect antidote to the influx of big budget commercialism which will inevitably saturate the local multiplexes during the festive season.

The choice of casting Bowie as Newton is inspired - the androgynous star perfectly suiting the role of the space visitor. Bowie - in his first silver-screen appearance - excels, creating a perfectly suited sense of tragedy and melancholic ambiguity.

It was once said that Runyon’s prose had a ungrammatical purity about it (what with the refusal of the past tense), but likewise Guys And Dolls works because it shouldn’t work.

Hooligan Sparrow is a chilling reminder of the extent of state repression and corruption in China.

The result is predictably crackpot and enigmatic.