Even if The Untamed comes perilously close to sabotaging itself at times, this generic tightrope walk is a ferociously individual, highly intelligent piece and a superb, very affecting cast ensure that the human factor remains dominant, however creepily inhuman things may become at times.

The Big Short means to infuriate its audience, but it’s smart enough to know that such an approach doesn’t preclude a film from being darkly, cathartically funny as well.

Wheel Of Fortune And Fantasy allows Hamaguchi to return to themes he has explored in previous work from the way life is measured in twists of fate to a sense of duality in individual lives and characters.

A simple story told with abundant gentleness, Yomeddine looks at a group of outcasts with such compassion and generosity that it has the good manners not to artificially inflate their tale with phony uplift.

With style, strong performances and emotive use of mis-en-scene, On Swift Horses is a flawed but intense critique of Americana.

He may not add anything new to the spy genre, but Zhang knows how to deliver a ripping yarn with the requisite panache.

Unsettlingly perceptive as well as absurdly comedic, Under the Tree chronicles domestic tensions left to fester; when grudges branch out like a leafy tree in a suburban backyard, everyone suffers.

As Gena attempts to live an authentic life in a place which is dangerously prejudiced against her, so Queendom takes shape as a damning portrait of state-sanctioned intolerance and suppression.

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

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.

Sadiq’s screenplay navigates a complex web of secrets and lies, pressures and prejudices to create a soulful human drama intent on challenging narrow minds.

Drag is a form of self-expression, an act of political defiance and a means of reinvention in Solo.

House Of Gucci can switch into camp faster than you can swing a bamboo-handled handbag, and will certainly launch a thousand Gaga memes, an element which is accentuated by the random application of chart bangers in the soundtrack. But it’s also unsettling, entertaining, and really quite unusual: like next year’s fashions from a more extreme house, it grows on you.

Dark Night is a drama of grim inevitability.

There’s much here, or in everything we see - which is essentially the film’s subtext - that is hilariously open to interpretation. See how you get on.

Although Sierra Pettengill’s film will perhaps be most notable for its inclusion of startling scenes from Riotsvilles, model towns built by the US Army to train for actual riots, there’s much here to consider about the American worship of law enforcement and demonisation of dissent.

The resulting film is both warm and reticent at the same time, so keen to cleave to reality that it shuns dramatic fireworks – particularly in its gentle, muted ending.

It’s a wildly original work from De Los Santos Arias, a film with a gleefully wanton approach to form, style and story in which no directorial decision is predictable, and, despite a slightly overstretched running time, no moment is ever dull.

Irrational Man heads to one of the most startling pieces of action he’s ever filmed. It hints where he stands now as a moralist or cynic in a corrupt world.

Ariane Louis-Seize’s debut feature plays like a coming-of-age genre mash-up, and features a tortured blood-sucker protagonist reminiscent of Only Lovers Left Alive, A Girl Walks Home Alone At Night or even The Hunger, although it is narratively and stylistically striking enough to make its own impact.

Well written, -acted, -cast and -produced, this wholly entertaining yet stingingly relevant story of the 1970 Miss World finals should have been a smash hit when it opened in UK theatres on March 13, but events overtook its release.

While this stirring dramatization of Davidson’s life hits conventional narrative beats, sensitive handling and a remarkable central performance from Robert Aramayo do heartwarming justice to a remarkable life.

This tale of repression and injustice is potent enough to overcome the inevitable distancing that occurs because of the animation process.

Mary Elizabeth Winstead and John Goodman make for fine sparring partners and the film has enough low-key, slow-burn suspense to keep the simplicity of the premise humming along.

Guzzoni crafts a suitably glowering and hostile atmosphere for this story, which delves into the very murkiest corners of Chilean society.

Even those with little interest in the beautiful game should be entertained by Saipan, a breezily engaging narrative.

Maurery handles her character, a nasty piece of work to be sure, with such natural aplomb that she makes Mrs Drazdechova not only perfectly credible but pretty scary too.

The directors’ first joint feature is a tremendously effective revenge movie; a picture that reframes the neo-noir by harnessing a hate crime and diverting its power into a thrillingly transgressive erotic thriller.