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

This could be seen as a smug, empty exercise in satirical excoriation – and as a smug, empty exercise in satirical excoriation, it’d be one of the best – but there is a genuine heart to the film, as well as intellect. Cheadle, Gerwig and Driver are all superb, while Sam Nivola and Raffey Cassidy give their smart-mouth, role reversal kids an impossible likeability.

An entertaining-enough survival romp that at only 90 minutes long feels oddly slack.

Director Akay is not messing around with his disgusted assessments of conservative Turkey in 2020.

As far as film theory goes, it’s hardly revolutionary, but as science fiction, Nope is smart and entertaining as we’ve come to expect from an increasingly captivating filmmaker.

Endless drone shots, perspective switches and too many CGI animals undercut any grit or claustrophobia that Trachtenberg – director of the brilliant 10 Cloverfield Lane – might otherwise have crafted. Meanwhile, the interminable score refuses to quiet down and let the images or emotions speak for themselves.

David Leitch once again proves himself one of the most adept action directors in Hollywood.

The Falling World contains moments of intrigue but a limp script and a cast of unengaging characters make this effort fall flat.

There are moments in the film that just feel wrong, sometimes complex and wrong and sometimes just plain wrong.

Its emotional structure, reconstructing Katia and Maurice’s marriage and their shared passion for exploding mountains, feels far more intuitive and lyrical than its linear narrative structure might suggest. In this, Fire of Love is more portraiture than storytelling.

All Light, Everywhere is, most importantly, a history of our technological attempts to offer objective views of the world. But instead of charting our striving to capture of reality, what is revealed is its fabrication.

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

Sadly, Love and Thunder proves that it’s possible to have too much of a good Thor.

Sundown is a film full of narrative and emotional surprises, upending the middle-aged bloke having a midlife crisis storyline, with Yves Cape’s cinematography capturing the classy and mundane locations with equally seductive attributes. Roth and Franco’s second rodeo is a melancholic banger.

If not in the right frame of mind, Faya Dayi is difficult to get a handle on. But that, perhaps, is the trick. Instead of trying to pin the film down and understand it logically, surrendering to its poetry and rhythms reveals something altogether more meaningful.

Pleasure is not a morally proscriptive film and seeks neither to venerate nor condemn pornography, but to depict its hollowing effect on those who make it. The film’s title is not accidental; at a time when porn is freely and ubiquitously available, the price of gratification may be cheap, but there is always a cost to be paid.

In one sense, Il buco is a testament to human hubris, contrasting the self-satisfaction of our own temporary structures with the unknowable depth of nature’s works.

Ultimately, Decision to Leave is like a beautiful airport novel of a film. It is far cleverer than it needs to be and is so acted with sly charisma.

It’s impossible not to be beguiled by the sweetness of the comedy, the skill of the performers and sheer craft of the film. But hopefully next time out Kore-eda will use it in the service of a plot which is more believable.

Dhont’s second film is a touching and empathetic treatment of male friendship, superbly acted and beautifully filmed.

Just as we learn to grudgingly like Lizzie, we also see the value in her work as it slowly comes together, emerging from the kiln with new colours and finally being displayed among her family and friends.

In an almost impressive display of ineptitude, Dominion combines the very worst vices of its predecessors in addition to a few new ones for good measure. As well as non-existent characterisation or thematic coherence, quaint concepts like comprehensible scene geography and narrative tension have all but disappeared.

Films such as the exquisite Funny Face, where all the ingredients came together in picture perfect composition, allows us to share, even if only briefly, in this land of fantasy and make-believe.

Oyate isn’t an extraordinary documentary, but in telling the story of some of the United States’ most marginalised and persecuted people, it is certainly an important one.

Bergman Island is at once an ambivalent love-letter to the Swedish master director Ingmar Bergman and a charming study of the complexities of relationships, the creative process, and the ways that one invariably influences the other.

What we’re left with is a sort of Blairite middle-ground where punches are pulled and no one really comes in for too much flack. Where’s the fun in that?

In a just world, Hadžihalilović would be as acclaimed as somebody like Tim Burton, whose greatest films boast a spiritual connection of sorts to the French director.

Men is a hallucinatory provocative work which will provoke laughs and yelps and not a little self-reckoning.