It's a sparse and ravishing meditation on faith.

While the film's mischievous narrative manipulation will inevitably irk some viewers, this beautifully rendered opportunity to view the world through the eyes of those who can no longer see is a smart and moving portrayal of living with an ocular condition.

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.

An unsure narrative hampers Age of Innocence’s ability to stand with the director’s more assured work, yet Scorsese’s period drama is a deeply cinematic experience, at once beautiful, oppressive and rich.

A major contributor to the reverential narrative of wistful cinema, Giuseppe Tornatore’s magnum opus Cinema Paradiso is an elegant distillation of the form’s escapist qualities and the garland of an industry that understands global audiences’ enduring appetite for wild nostalgia.

It makes for truly sobering viewing that cuts to the quick, exposing the atrocities the country's government so willingly commits.

The work bears the burden of Classical Hollywood, making it not only a film about two people decoupling, but a striking example of forms in combat, struggling for a dominant voice.

This is not a run-of-the-mill pop doc: it’s part defiant portrayal of a woman, part autobiographical travelogue, part tale of a country in turmoil through the coming of age story of a young girl, and part meditation on creativity and self-hood, baring all about the elusive grasp of the westernised dream.

Being 17's great strength is the two utterly engrossing performances given by its leads and their exhilarating chemistry is conveyed with equal sensitivity during their tussles, as it is in every small glance and gesture.

A constantly surprising treat of a film that returns more the less you give.

A resolutely offbeat film which offers a richly rewarding and affecting viewing experience if you’re willing to embrace it’s esoteric flourishes.

A pointed, revealing study of selfishness and an all-too familiar portrait of emotional indulgence, bolstered by three excellent lead performances.

The film that made Jackie Chan an international star, Police Story fully embodies the martial artist’s spirit of entertainment – equal parts endearing, goofy and packed with eye-popping kung fu action.

Kent, who gathers a cast of extremely bright young things, creates a drama that glides with sorrowful grace, pitching at a respectful and tear-inducing tone.

A Night of Knowing Nothing is a celebration not merely of resistance, but also of joy and art as a political act in the face of despair.

Wedding Doll may be a small film, but it's deftly executed and built on two remarkable leading performances.

Polsky keeps Red Army driving forward and the result is a film as fast-paced and bloody-minded as the sport it celebrates.

Rife with the director's trademark stylistic preferences, this is a blast of an idiosyncratic comedy full of brilliant deadpan performances that offer a wickedly funny and poignant conclusion to the fable.

An amalgamation of Disney's heritage, current status and future enterprises that starts in the evocatively rendered 1964 World's Fair, Tomorrowland is a refreshing and well-intentioned standalone piece that revels in a creatively manufactured appropriation of the conglomerate's existence.

A conspicuous example of political cinema made into art, The Wild Boys has more ideas in its 110 minute runtime than most filmmakers have in their entire oeuvres; jumping gleefully into the murky waters of gender politics and taking great delight in the overflowing bounty of cinephilic pleasures and vulgar perversities that spurt onto the screen.

Despite some imperfections, Arrival is a close encounter with the best of intelligent, thoughtful science fiction.

A Chiara is arguably Carpignano’s most accomplished work to date, pressing ever further into the interior psychologies of his characters.

While the film rarely approaches the existential gut punch of Toy Story 3’s conclusion, the various answers each of our heroes arrive at are among the most moving of the quartet.

Suburban suffocation, impending doom, a tragedy waiting to happen, The Swerve is a compelling depiction of existential angst, melancholy, and mental illness, with director Kapsalis opting for subtlety over big-scene meltdown histrionics and much to his credit.

Saint Maud is the dive into obsession, isolation and urban deprivation that you need right now.

Diana Kennedy: Nothing Fancy is an affectionate and reverential look at a remarkable figure and a testament to her achievements within the Mexican culinary landscape.

Once again, it’s an unadulterated pleasure to watch Chan and his stunt team at work, jumping, contorting and throwing the human form around in ways that simply don’t seem possible.

Quietly raging, The Assistant is a bleakly precise study of complicity in workplace abuse.