Ozon’s latest is a twisty-turny post-War mystery — think ‘A Very Long Bereavement’ — that boasts a kaleidoscope of quiet emotions. It unfolds slowly, but rewards patience with strong performances and a swooning third act.

Wisely focusing on four key cases, The Fight is a worthy attempt to document the ACLU’s seemingly endless struggle to challenge the many constitutional violations of the Trump administration.

Another quiet delight from Koreeda.

Filmworker is an absorbing, important portrait of both a genius at work and the man behind the scenes who made the magic possible, whatever the cost to himself.

An illuminating, moving and quietly shocking account of Michael Hutchence’s short life. A must for fans, but Lowenstein’s lyrical, meditative piece offers a compelling account of one man’s passion that exudes warmth and humanity.

A bit theatrical in places, which is not surprising when you consider its provenence but it suffers for it.

More an introduction to the erotic-thriller genre than an immediate classic, Fair Play is a slickly made tale of twisted love that keeps you holding your breath until the end.

She Will is meditative horror, parlaying modern concerns through a thick, ancient atmosphere. It perhaps has too much on its mind, but Charlotte Colbert’s debut works as an imaginative and unsettling calling card.

Its plot isn’t going to win any prizes for originality, but Nair tells the story with immense warmth and cheer. You can see just about every move coming, but it’s making all the right ones.

Very physical, with intense performances and half-serious period talk, it’s an impressive, haunting picture — though the sort of thing you have to meet at least halfway to enjoy.

An extraordinary attempt to encapsulate the many faces of Bob Dylan that plays better to the convert than the sceptic. Like the nasal twang of the man in question, the film finally beguiles more than it irritates.

Overall this is an effective reminder of a minor literary masterpiece, but most folk would be better off reading the novel or checking out the 1939 movie version.

Through this decade so far, Pixar’s films have held great ideas that haven’t quite reached their full potential. This is probably its best film since Coco, and best sequel since Toy Story 3.

The Bourne Supremacy builds on and exceeds the original, delivering, quite simply, one of the finest big-budget thrillers in years.

It’s arguably every bit as good as Stanley Kubrick’s Lolita.

Scorses's skill as a scene-maker are fully evident and Lewis' quietly rageful performance offers to out-do De Niro in intensity, but neither funny enough to be an effective black comedy nor scary enough to capitalise on its thriller/horror elements, The King Of Comedy sits awkwardly between the two.

Sedate and contemplative character piece but low on thrills.

With some incredible stunts and Gosling and Blunt on top form, this gloriously entertaining comedy is a love-letter to the unsung heroes of cinema.

Giving the gloves to Michael B. Jordan both in front of and behind the camera leads to satisfying results, and the year of great Jonathan Majors performances continues.

Chu amps up the colour and spectacle to extraordinary, almost overwhelming heights, but the real magic comes from Erivo and Grande as the frenemies at the story’s heart. 

The gentle rhythm of this timely, environmentally conscious documentary will temporarily draw you away from the world of tiny screens into a partially ambiguous yet fulfilling tale of endurance.

It's hard to imagine that the prodigiously gifted Dolan is still in his early twenties. This is another work of marvellous maturity and assurance.

The quintessential '50s rom-com.

Deliberately uncomfortable viewing, this is nevertheless a compelling exercise in gritty psycho-noir with outstanding performances and real dramatic weight. Director Ben Young is a name to watch.

Occasionally lacking in context but never less than intriguing, Jarreth Merz's polished film is a handy document to a rarely visited democracy.

Out front and backstage, this illuminating but not quite revelatory documentary shows a vulnerable, exhausted Blur and the band at their best. Interesting to casual fans, essential for devotees.

For all its chilled intelligence and topical ambition this is a bloodless adaptation, but worth seeing for Hoffman’s deft and ghostly presence.

Exactly as good as Musker and Clements’ earlier efforts, so a return to the form of Disney’s early 1990s classics. The animation is gorgeous, the heroine feisty and the animals amusing -- but this may be too scary for the very small.