Goodman emerges as a passionate advocacy journalist but also a well-navigated professional who is wise to the tricks of the trade and prepared to use them.

As the story travels from bittersweet to comic and back again, The Last One for the Road never feels like it explores new territory in terms of its characters and situations. But the specific setting both in time and place make it a very vivid portrait of a place ravaged, like its characters, by time, but hopeful that one last drink might enable things to be seen in a more positive light.

What it does feel is a little cerebral, rather wary of engaging too deeply with its characters. The effect is both alienating and refreshing.

Alice Winocour’s captivating fashion drama Couture is a quiet, observational picture about creative women finding solace in one another.

Colours of Time nudges its audience a little heavily, if cheerfully so, with its historical references, and self-confessedly (as per an end title) plays fast and loose in its accuracy, but is genially inventive in messing with the codes of period cinema.

It’s a bold, gothic, compelling study of the cult of fame, the creative impulse, the fragile threads that bind. Every aspect of the film is carefully crafted and calibrated in service of Lowery’s distinctive vision, and, while it may prove divisive, it casts a hallucinatory spell.

Unkovski’s film may be singing from a familiar hymn sheet, but he makes that part of its charm.

While the film’s balance of thorny laughs and thought-provoking themes is not always smoothly executed, Borgli’s provocation succeeds thanks to the grounded performances of his stars.

Marczak’s film becomes not just a document of a hunt but a psychological portrait of loss and a family’s attempts to come to terms with that.

BenDavid Grabinski’s time-twisty, sci-fi gangster comedy Mike & Nick & Nick & Alice is brimming with hair-brained schemes and hilarious gags; the kind of unruly one night adventure that isn’t about logic, it’s about stoking delirium.

The film’s simple premise is supported by smart plotting, nimble editing and evocative sound, and lands with frightening force. An engagingly frigid performance by Scott furthers the film’s keen ability to conjure overwhelming anxiety from its many punchy jump scares, combining to make Hokum an exceptionally chilling horror film.

Sierra’s film not only stands as a love letter to peaceful protest but also to intelligent law enforcement that took the opportunity to de-escalate and resolve the situation without violence. Whether audiences agree that it has ’changed the narrative’ or not, it is a powerful testimony to a community’s ability to take control of their part of the story and give it a happy ending.

This Hamlet sticks to the narrative essentials to produce a terse, pitiless retelling.

Though its many narrative twists and amusing turns might wear down less adventurous viewers, this film will be embraced by those who enjoyed the director’s dystopian critique Sorry to Bother You and his equally scathing series I’m a Virgo.

The tonal balance between life-and-death stakes and buddy-comedy bonding is sometimes wobbly, but Ryan Gosling gives an open-hearted performance as our planet’s unlikely saviour.

A rich, densely cinematic film, it is a stunning assured debut from young Filipino filmmaker Rafael Manuel.

It feels like a gorgeous, decidedly dewy-eyed heritage hagiography.

There’s something deeply compelling about this deliberately odd, carefully-calibrated neo-gothic fable, which suggests that rehabilitation can be found in the darkest of places, and that true freedom is simply a matter of trust.

A story which might seem the stuff of high melodrama is given a very different charge by Franco’s characteristic rigour – an uninflected cleanness and clarity in Yves Cape’s cinematography, and a minimum of narrative frills, driving the narrative towards a conclusion that is one of this director’s starkest yet.

Propulsive and entertaining, Peaky Blinders: The Immortal Man has plenty to keep fans happy and a wider audience engaged.

Ultimately, The Bride! stays the course as exciting, exhilarating filmmaking, a bracing example of creators throwing convention aside and pushing their vision to the absolute limit. Mary Shelley would no doubt approve.

Hardly a second too long despite its almost two-hour running time, this urgent, absorbing documentary should be required viewing for those, inside or outside the United States, who are struggling to make sense of the recent presidential election. It will also speak to anyone interested in the battle over books and gender issues that has been raging for some time now in the American educational sector.

Sometimes the convoluted story forces its emotional beats, but Hoppers is a largely successful animation that introduces a refreshingly darker strain of humour alongside its paeans to the natural world.

Occasionally schematic, albeit only in the service of pricking our consciences, Petra Volpe’s tense drama is a shot in the arm of undiluted empathy for the over-stretched, under-valued nursing profession.

[Teng] certainly succeeds in creating an impassioned triple profile of the men who are, if anything, increasingly determined to make a difference for the civilians and medics of Gaza, while viscerally bringing home the extent of the brutal tragedy on the ground.

What’s perhaps unexpected, in a film that has the look of a brooding fable by Carl Theodore Dreyer, is how funny it is at times.

Catak retains an effectively claustrophobic atmosphere and a tight focus on his characters and their issues.

The fearless lead performance from Ruraridh Mollica really gets under the skin of the complex central figure and should elevate him to rising star status.