This is a film you haven’t seen before from a place you’ll never visit, a first-class example of bravery and reportage melding into an filmed testament. It’s not just that it’s nailbiting. The unease lingers long after viewing, though, for every person associated with it.

Beautifully shot, played by a mix of professional actors and locals and spoken mostly in dialect, Vermiglio feels both authentic and almost restrained to a fault.

The film displays intense emotional seriousness and is finely performed and directed; but further shaping could have revealed the more focused work that’s begging to emerge.

Salles never over-labours the film’s emotional beats, relying instead on Torres’ magnificent, intricately layered performance to drive the picture.

Ratchapoom’s feature debut is a visually ambitious and thematically layered big swing that’s as polarising as it is creative.

[An] unusually direct, moving and deceptively simple exploration of love – and of film – as defences against forgetting.

The film manages the tricky feat of both staying true to Waters breathless, page-turning prose, and creating a wholly persuasive new milieu for the story.

A potent emotional charge, very contemporary eco-consciousness, and film-making that at its best fairly sizzles in its strangeness mark out EO as an animal film that stands defiantly on its own hooves.

Stuffed with gorgeous costumes, vivid choreography and deft tunes, Black Is King doesn’t have the depth or anguish that made Lemonade so epochal, but its more inspirational tenor and consistently high artistry make this a feast for eyes and ears.

While the Chilean-Spanish writer/director weighs down every second of Blanco En Blanco with tension and solemnity, its big moments continually hit their marks – including the devastation and absurdity of its prolonged final sequence.

With strong performances and an arresting tone, Black Conflux doesn’t offer anything groundbreaking in terms of its narrative, but is nevertheless a striking calling card for its talented maker.

The film derives a magnetic continuity, and an unsettling range of dynamics, from Haque Badhon’s performance

The structure of The Plains is playful and idiosyncratic, rather than formalist or rigid.

What comes across strongest is the sheer uncertainty gripping both the caregivers and the infected — no one has experienced anything like this, and no one knows what could happen next.

A coming-of-age tale rendered with humour, sensitivity and intelligence, Are You There God? It’s Me, Margaret is a marvellous look at adolescence which is frank but also affectionately attuned to the excitement and confusion of being young.

The Truffle Hunters is a film as distinctive and lingering as the scent of the rare tuber that inspires it.

Judas is an explosion of pent-up plotting, as if the film industry itself would only have this one chance to make a film about the Panther movement and it all has to be told in one go. Hopefully, this is not to be the case. As this film rises up to an unthinkable conclusion, there is clearly so much more to tell, and, as always, to learn.

Once Upon A Time….in Hollywood is beautifully made. Beyond all the ‘Tarantino-esque’ touches of the action, the banter, the violence, the constant movie references, there’s a real craft at play here.

Like Kore-eda’s 2008 family drama Still Walking, this is a film which is interested in the architecture, both emotional and physical, of the family home.

Hadi has an eye for detail, echoes and lyrical touches.

Although sometimes a little overstuffed, the picture consistently gets under the skin thanks to its expertly-staged fright sequences that reverberate with insidious societal ills.

Like McQueen’s designs, it is thrilling, troubling and tinged with tragedy.

Earth Mama offers no falsely encouraging happy ending, but its clear-eyed humanity nonetheless feels like a balm. In a society that often tries to sweep the poor away so that they’re out of sight, this film encourages us to see — and to care.

Wilde delivers a confident feature directorial debut, mixing humour, embarrassment and poignancy to crowd-pleasing effect.

Whether the pen is mightier than the sword may be up for debate, but as this engaging and hopeful documentary by Rintu Thomas and Sushmit Ghosh shows, words have the power to change things when wielded carefully.

Never appearing to judge any situation, Kingdon confidently allows the images to tell a fascinating, universal story of inequality and class division, revealing a country that feels more like a capitalist society than anyone’s idea of a Communist state.

Sweeney never lets you forget that Reality Leigh Winner was just a young woman who believed she needed to act, which is why the picture works so well: her ordinariness makes her seem all the more helpless, and also more relatable. She could be any of us.

Bellocchio’s motives for making the film are in part to make sense of the events, in part, one suspects, to exorcise a lingering sense of survivor’s guilt. Yet for all the laudable intentions, Camillo still gets slightly lost in the rambling anecdotes, padding and extraneous details.