Kevin Kerslake’s Bad Reputation doesn’t explore just Jett’s rock star image and the added layers of hostility and confusion that her gender brings to the term ‘rock star’ but also, how cinema weaves its elements within the world of music, it’s aesthetic and subcultures, cinema and music as creating its own little world.

Cooper’s performance is sublime, delicately balancing the problem of playing a ham while not becoming a ham.

She Dies Tomorrow is billed as a horror, and its scenario certainly is that. But the word ‘horror’ denotes active subjects – even if their activity is mainly screaming and running – whereas there’s a melancholy to Seimetz’ film that feels too fixed in place for the instability of horror.

The film as a whole is neither scary nor particularly interested in the nature of its ‘monster’, though it is undoubtedly strange and often unsettling.

Although the handling of certain plot dynamics on occasion isn’t as strong as its potent aesthetic finesse, Ly mounts a thriller operating as a savage indictment of social policies and underhand police tactics and ass-covering corruption.

Ant-Man is a smart action adventure that breathes new life into a long-running franchise, told with a level of intelligence that reminds those beleaguered by the onslaught of superhero movies that the genre still has a lot to give when in the right - if not the Wright - hands.

Although the narrative risks becoming arbitrarily episodic towards the end, Neon Bull is a genuine celebration of its characters and their grounded physical life as well as their obstinate ability to dream.

Even the film’s weaknesses – a penchant for melodrama and a tendency towards the hysterical – work as remnants of their time and betray an earnest effort to emphasise with the characters and their heightened do-or-die mentality.

Ava is a singular vision marking Foroughi as a talent to watch.

Scafaria is writing from personal experience and it shows in some of the understated but utterly credible scenes which illuminate the grieving process.

The result is a formally loose, but dizzyingly dense and morally forthright examination of national attitudes and the myopia of nostalgia told through ranging meta-constructs and highfalutin debate.

It's as if the writers have set out with the most basic plot imaginable, hoping to cover the cracks with distractions and colourful set pieces. It works, but the lack of depth and emotional heart is noticeable when the film hits some of its less than spectacular moments.

It is a tale of phenomenal creatives from Williams to Kazan and Brando and Leigh.

As both director and performer, Waititi is on top form.

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.

Following the freewheeling day to day life of dogs living on the streets of Istanbul, the initial novelty and intrigue of this extraordinary documentary broadens further to a profound meditation on how mankind treats our so-called best friends, and one another.

Read as a loose adaptation of Invasion of the Body Snatchers, Little Joe is a gripping and visually striking satire of essentialist maternal instinct and the contemporary anxiety of wellbeing.

This deeply felt Paraguayan drama shines a light on the nation’s fractured identity by crossing numerous generational and class divides.

Quillévéré has created a poignant exploration not just of death, but of life, love and fragility.

Like the best films from its genre, Seconds acts as a potent parable and posits an intriguing idea.

It’s a mesmerising watch for fans of Cohen’s music, a fitting portrait sewn artfully together, and given a greater intimacy by dint of the fact Broomfield himself spent time in Hydra in his twenties and befriended Marianne whilst there. The only glaring absence is the lack of commentary from Cohen himself on their relationship.

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

It’s open to debate whether this claustrophobic little parable means something. It’s devilishly clever but there’s a suspicion that this is beautiful calligraphy without words. And yet with the added circumstance of self-isolation, quarantine and quiet four-walled despair, Vivarium will undoubtedly resonate.

The First Wave stands as an honest, hard-hitting and compassionate reminder of loving thy neighbour wherever and whoever they may be.

An acutely observed and frequently heartbreaking documentary.

An affectionate labour of love, cathartic yet bitterly honest, Bell and Sng’s films paints the full, unfettered picture.

In its totality Ava is a powerful and authentic depiction of a vital moment in a young woman’s life.

Occasionally, the script is a little too on-the-nose and expository, but the emotional force of the drama is such that those moments pass by without disturbing the overall impact of the film itself.