A little too long and reliant on a coincidence or two to advance the plot, Falling Into Place still proves a heartfelt tale of thirtysomething love in which the prevailing gloom ultimately leads towards the light.

It is a fascinating, free-spirited tribute to two men whose lifelong connection to the earth is only rivalled by their bond to each other.

The mix of satirical comedy, action and sentimentalism is not always comfortable, and prevents the film from truly breaking the mould. Yet its bubblegum aesthetic, unchallenging narrative and strong cast, which includes Burning and The Match star Yoo Ah-in, make it ideal summer fare.

The two actors manage to capture the vulnerabilities that come with opening yourself up to someone else, particularly at such a delicate age.

Gavagai is refreshingly grown-up in the way it sets up satirical targets and then complicates them – pointing out, for example, that tensions around caste, exclusion of the ‘other’ and the guilt of privilege are not the exclusive preserves of white people.

Del Toro’s undying adoration for his fantastical creatures leaves us hungry to learn more about the inner workings of the man who brought them to life.

The result is an appealing, soulful romance with a considerable emotional tug.

Adult Children develops into a tale of guilty secrets, ulterior motives, honest conversations and sweet vulnerability.

7 Keys is a nervy but uneven thriller that is rather let down by the fact that, while the two central performances are independently strong, there’s little discernible chemistry between them.

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.

One thing that can be said for revenge thriller Serpent’s Path, by Japanese genre maestro Kiyoshi Kurosawa, is that its French remodelling stands coherently enough on its own terms, although the result is a murky, over-extended affair.

While the interviews are largely quite banal, thanks to Song’s expressive performance, they are intriguing. But the picture loses what steam it had once we get to the final two chapters, where the actress is required to transcribe what she remembers of the conversations, memorise them and then perform them for her acting coach.

The script may be a litany of cliches but there’s grit here too, and the vein of documentary truth that pulses behind some rather brazen nationalistic French virtue-signalling keeps us watching.