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.

As much a repudiation of auteur theory as a tribute to the imperfect process of creation, One Cut of the Dead is a thrilling reminder that of the beautiful, vital lie that is cinema.

Raiders of the Lost Ark, the first in the series from Hollywood's own golden idols George Lucas and Steven Spielberg, is still the strongest by far and remains a thoroughly rousing and nostalgic delight to return to.

Irony has a wearying effect after a while, ultimately leading to a flattening of the ethical landscape so that by the end of it we can’t help but feel they’re all as bad as each other.

Maidan is a stunning piece of political cinema and a documentary of quietly moving power and beauty.

Drunk on the visual majesty of Rome, just as Fellini once was, this is arthouse cinema at its most effortlessly entrancing, with life and art blending into one magnificent whole.

A work of astonishing aesthetic beauty, made up of static compositions and use of chiaroscuro that recalls the Dutch masters.

Happening is a naturalistic, heart-breaking and relentless account of the multiple traumas and injustices that cascade when women are denied their basic bodily autonomy.

The Wild Pear Tree isn’t a showy or boldly radical work, this is still Ceylan’s brand of poetic landscapes and intimate dramas, but it does represent an intriguing artistic progression, so any claims of ‘more of the same’ are redundant.

In the way it seamlessly flits between events separated by large stretches of time, Davies seems to have miraculously captured the essence of memory itself in its elliptical, dreamlike quality.

Benefiting from the matter-of-fact, unerring defiance exhibited by the group, Heineman is unflinching in representing the brutality perpetrated by ISIS as well as their own very savvy use of the media as a tool for recruitment and influence.

Grant is absolutely superb as the impassive Geoff.

Hawke's performance is his most mature to date, a masterpiece of a man who cannot work himself out and yet is compelled to try.

The script is well-paced and packed with twists and turns that offers little in the way of respites to the beautiful mayhem. The characters, too, are wonderfully realised through the performances from the entire cast, each making a big impression no matter how long they're on screen.

Rarely seen but frequently referenced in film studies lecture rooms, Vincente Minnelli’s The Bad and the Beautiful (1952) is a twisted tale of the rise and fall of Kirk Douglas’ ruthless Hollywood producer Jonathan Shields and one of the greatest ‘movies about movies’ to ever come out of Hollywood.

Sabaya does not shy away from the horrendous circumstances it finds, exhibiting bitterly raw emotion, fear and heartbreak very frankly.

With One Fine Morning, celebrated French director Mia Hansen-Løve presents complementary accounts of infatuation, love, and loss in a nuanced, moving study of the ways that love can sustain and consume us.

It doesn’t quite click, is too weird, leads to a lurch from one cinematic style to the other and fails to gel as a satisfying whole. Yet the director’s imaginative intention is apparent in the first shot.

A jolting cinematic experience, Wake in Fright bites like a dingo and kicks like a mule.

Perhaps given the ostensibly bookish subject matter, Waking Life has seldom been acknowledged as a legitimate innovator of the medium.

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

This is a rich and complex take on guilt and anger.

Peele's blistering debut is a timely and powerful satire of modern prejudice as much as it is a taut, gripping exercise in horror cinema.

Whereas Senna had that one moment of horrible impact, this latest tale is the story of one long car crash.

Ciro Guerra and Cristina Gallego’s depiction of their native country is compelling, one that weaves its magic to leave a rather impressionably wonderous film.

Throughout, each of Ilo Ilo's performers give wonderfully naturalistic turns, providing the entire film with a heartening authenticity.

To the Ends of the Earth is a light, airy and fun journey with flashes of poetry.

Ash Is Purest White’s is an epic spanning decades and vast geography that ultimately gives way to the intimate and personal.