It’s an enjoyable but static viewing experience, where even the tales of wild parties, disco dancing and sex become worn out through overuse.

Unveiling personality traits previously unknown, alongside footage that’s captivating to observe, this lovingly constructed documentary will leave you with a fresh appetite to revisit Bergman’s filmography in as much detail as presented throughout.

Pit Stop certainly couldn’t be accused of being high art, but it’s a helluva lot of fun, offering an entertaining snapshot of that schlocky, drive-in era, complete with an unexpectedly dark ending which flies in the face of the usual heroic cinematic conventions.

Director Ben Mullinkosson noted the cinematic potential of the volatile dynamic between his two cousins and, in Don’t Be A Dick About It, renders it lovingly to create a charming and often hilarious documentary-comedy hybrid.

Perfect 10 is an acutely observed and beautifully shot coming-of-age story. It is also a tender, fastidiously constructed portrait of working-class girlhood that shimmers with angst, vulnerability, and compassion.

Never has the banality of the plight of refugees been laid out so plainly as in this heartbreaking, Kafkaesque documentary.

Don’t Click is anti-torture porn, a rebuke to mindless muck for the sake of entertainment. It’s likely, though, Don’t Click will be quickly accused of being exactly what it’s rallying against.

Second Spring is a film about endurance and acceptance, tackling its subject matter with quiet poise where a lesser film might have fallen to mawkish sentiment.

A Ghost Waits is an unexpectedly heartfelt gem of micro-budgeted filmmaking.

In the end, Justine is an enjoyable and often charming British film, but a messy third act and unnecessary contrivances leave it lost in the lanes.

Made with defiant conviction, this is a fearless, unflinching, but above all compassionate piece of documentary filmmaking that cares deeply about the people whose plight it tells. Enough is enough, it is time for change.

Following in the footsteps of legendary documentary Paris Is Burning, Pier Kids is a poignant and chaotic study of the community of young black gay men and trans women who congregate at the piers of Hudson River Park, New York City.

What distinguishes Skin to Skin from its counterpart is its subject, a man utterly dedicated to his craft and to its rich cultural traditions.

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.

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

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

In its surreal rendering of space and character, Fingers in the Wind offers enough ambition, intelligence and unvarnished authenticity to warrant recommendation.

Sadly, despite some cultish potential this aptly-titled debut feature is indeed a lost cause: an incoherent, undisciplined and tedious mess with little about it to truly recommend.

Bebjak’s film is far from bad and its three-tiered narrative is often compelling, buoyed by fine performances. But its treatment of women and shallow exploration of its themes sadly bring down its initial promise.

Religious allegories, monochrome photography and folk horror trappings will draw in viewers as much as its meandering contemplations and languorous pacing may test their patience.

The components are all here for a compelling psychological drama, led by two excellent performances, but a conflation between narrative obfuscation with thematic depth undermines Esme, My Love’s final emotional impact.

Move Me No Mountain is an emotionally and thematically inert experience.

8 A.M. Metro is a sweet but ultimately shallow film whose final act ultimately finds depth and dimension too late to redeem its prior narrative shortcomings.

American writer-director Erika Arlee’s debut feature showcases strong performances and nice visual flourishes, but A Song for Imogene struggles to find an emotional hook.