Dancing in Jaffa is a wonderfully insightful documentary that explores a side of geopolitical tensions in a completely new light. Like Dulaine's teachings, the feeling of hope, the promise of light at the end of the tunnel, never diminishes.

The acting throughout is superb, with Swinton sitting back and watching with obvious pleasure as Fiennes gnaws up the scenery and beach furniture with genuine vim. Schoenaerts once again proves himself a charismatic and compelling actor alongside the excellent Johnson.

Berg's Little Girl Blue inevitably concentrates on the tragic parabola of the life without fully getting to the heart of the art.

Southside with You doesn't leave a lasting impact because it plays all elements altogether too safe.

The tributes paid to Yauch throughout by both Horovitz and Diamond are genuinely touching, and it’s here that Beastie Boys Story breaks through its inherent – often distracting – staginess. While there is still a definitive, impartial Beastie Boys film in the offing, devout fans should be more than satisfied by this nostalgic oddity.

The Measure of a Man is solid social document that offers insight into quiet lives lived by those who don't give in - despite every good reason - to desperation.

You may have casually leafed through one of the photographer's books in the past, or even visited a gallery of this work, but this documentary is a must-see for anyone who has ever expressed an interest in this fascinating figure (and for those keen to witness what life is like on the other side of the lens).

So many thematic and tonal elements of Weerasethakul's later, more celebrated films, are evident in Mysterious Object at Noon that it would be easy to consider as a formative exercise alone, but even as he began to explore these fertile soils, he was creating a work of captivating and arresting beauty.

Inviting mystery, ambiguity, and a pervasive sense of unease, Ghost Town Anthology is an entrancing yet unsettling allegory that builds like the pressure of an approaching storm that never quite arrives.

Blending and bending genres to highlight the elusiveness of the truth, Green's avant-garde documentary presents the audience with a wealth of interviewees, each giving their own account of how the murder was reported.

Bones and All, like the best horror movies, finds poetry in the frightening, in the transgressive, in the perverse. It mines light from darkness and transforms it before our eyes into something universal, shining and true, no matter how ephemeral.

Grander in scope than any of Villeneuve’s work yet, Dune is proper, ambitious blockbuster filmmaking for grown-ups.

A Woman's Life is a modest chamber piece, a series of sketches revealing a life of quiet desperation, which eschews melodrama and, for the most part, platitudes but exhibits great tenderness and sensitivity.

Labyrinth of the Turtles is a charming and occasionally moving love letter to the legendary Spanish-Mexican surrealist, and at a spry 80 minutes, doesn’t outstay its welcome.

What elevates Armageddon Time to something more than a piece of indulgent navel gazing is the way that Paul’s coming-of-age is reflected in the national story which closes a chapter on Jimmy Carter to turn a new page into Reaganite 1980s selfishness, reactionary politics and feral capitalism.

While it is hard to imagine its themes of gender fluidity and female empowerment not resonating with contemporary audiences, Wash and his fellow screenwriters make these parallels irritatingly obvious, to the extent that characters constantly say and do things that feel implausibly millennial, and caricatures (especially male ones) abound.

It’s difficult given the premise of the film not to come out of The Workshop thinking of alternative directions the story could have gone in.

Disobedience’s third-act narrative inertia does little to dampen its tonal sobriety and quietly powerful compositions. While nuance may be lacking, it makes up in tone and directorial precision.

Humbling, awe-inspiring and frequently head-scratching, like a solar system mobile, Kahn’s film has a bewildering number of moving pieces.

This is heartfelt, inspiring stuff and there is no doubt that this is a true story that absolutely merits wider recognition.

American filmmaker Ryan White, director of the acclaimed Netflix mini-series The Keepers, spins a web of riveting, murderous intrigue in his latest documentary Assassins.

As far as dramas of this kind are concerned The Panic in Needle Park is, in my view, without doubt one of the most thought-provoking ever committed to film.

A bold and colourful, but by no means superficial portrait of femininity, Daughter of Mine successfully embodies a set of ideas – and anxieties – about motherhood that eloquently reflect a contemporary need to reevaluate the traditional family unit.

Interstellar may not be perfect, but tent-pole filmmaking with such ambition and grandeur is always worth celebrating.

Ozon is firing on all cylinders here, giving viewers a neat slice of cinematic confection that showcases what he does best: present morally complicated but very human stories that have enough panache to keep all eyes at attention for as long as he desires.

The film is heartfelt and sincere in its concern to understand conflict and the plight of good men when they're forced to make impossible choices.

Tinge Krishnan’s Been So Long is a musical delight of heart-warming songs, sardonic British humour, and fantastic performances.

Though its 60s-inspired, Gilliam-esque animation style is certainly awkward enough to draw the notice of the arthouse and indie crowds, Cryptozoo’s storytelling and themes fail to come up to the complexity of even a middling Pixar effort.