Throughout, Ozu strikes a touchingly profound note whilst imbuing proceedings with his usual playfulness.

At the film’s centre are three irresistable performances.

By utilising a Herzogian blend of existentialist narration with the addition of numerous well-structured interviews (both academic and candid), Guzmán opens up the floor - and skies - to a frank and painfully honest discourse on Chile's past, present and future.

Though the film tries for ironic detachment – twelve chapters with a prologue and epilogue – it ultimately can’t wink away its own heartfelt compassion and sympathy, even as it refuses to provide any trite solutions.

A joyous, hazy and nostalgia-inflected romantic drama.

What we are left with instead is a story of astonishing tenderness; a study of love as a tempering salve to the sublime of history’s passing.

Nothing is too much, and whilst there is the danger that some will find the unremitting havoc tiresome, Miller's endless innovation keeps things fresh despite the surrounding wasteland.

Combining the director’s key interests in dysfunctional family units, social stratification and the seething undercurrent of violence inherent in all positions of power, Coppola’s mafia sequel not only succeeded in dwarfing its still terrific predecessor in terms of drama and scope, but also brought together De Niro and Pacino on screen for the first (but thankfully not the last) time.

The Hustler is one of the highlights of Paul Newman‘s career. The film is often ranked as one of the best films of its time, largely thanks to Newman’s excellent portrayal of the down beaten Felson.

An epic yet deeply relatable human drama, Blue Is the Warmest Colour offers far greater riches than its public notoriety would have you believe.

Tati’s second film, Les Vacances de M. Hulot sees the birth of the everlasting character of Monsieur Hulot, he of the trademark pipe and umbrella.

A highly original and utterly enthralling film that touches on staggeringly expansive themes - more typically expected in the work of master auteur and persistent award-winner Terrence Malick, than from animations.

The two-part The Souvenir can be seen very much as one whole, and as such is one of the very best achievements in recent British cinema.

Taking a sledgehammer to institutionalised racism with the clarity of purpose and skill of a master craftsman, Steve McQueen is once again at the very top of his game, and indeed his profession, with Mangrove.

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.

Green Border is a powerful and necessary film.

Ever the craftsperson, rarely the artist, Nolan has constructed a grand and terrible machine, a fascinating object of cinema and a deeply frustrating work of imagination.

Paths of Glory undoubtedly succeeds in both foreshadowing the bravura auteurism that was to come as well as lampooning the abhorrent bureaucracy that destroyed the lives of so many brave young men in Europe's trenches.

Cold War’s main weakness is that despite the political stakes, it fails to make us truly care about Wiktor’s and Zula’s relationship.

Equal parts arthouse cinema and coming-of-age drama, the influence of his tribute to teen rebellion remains deeply felt.

The whole set-up risks being all too winsome, but Jarmusch has always been a quiet punk: his most radical assertion is believing, despite everything, in the essential goodness of people.

The Fits is slimmed down but Holmer achieves a great deal with economical, nuanced storytelling where no image or sound is without meaning.

Although many rightly claim it to be the greatest sports movie of all time, Raging Bull’s praise should not merely be confined to one genre, as it is unquestionably one of the finest pieces ever committed to film.

Chaplin’s humour is shot through with darkness, loneliness and violence, like chili pepper in chocolate.

Ultimately, The Lavender Hill Mob remains an unblemished gem that proves that the period wasn’t just one of fertility on the other side of the atlantic.

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.

Cimino’s drama does far more than simply function; it’s an awkward, uneasy paean to a dying class that will soon be destroyed by the oncoming march of globalisation

Although a couple of narrative twists late on threaten to drum us into melodrama, Chazelle never misses a beat and the film builds to a cathartic crescendo.