Eggers gives us a gothic horror that teeters on the edge of madness, resulting in an elegantly woven tapestry of encroaching evil. Led by Bill Skarsgard as the unholy titular monster, this Nosferatu leaves its mark as one of the most memorable of vampire tales.

The Blue Trail is entrancingly unpredictable in its picaresque unravelling, tinged with magical realist touches.

If A Quiet Passion grows in stature as we watch, it’s partly thanks to Cynthia Nixon, whose account of a witty, intelligent, rebellious but also reticent and emotionally confused woman takes the edge off Davies’ sometimes grating formalism.

Tickling Giants shows how a window of freedom and hope can unleash surges of creativity, like the improbable overnight success of a surgeon satirist.

A few mid-section pacing issues not withstanding, this is a satisfyingly gritty addition to Iran’s tradition of humanist cinema.

The lynchpin of the whole enterprise is a terrific star turn from Dev Patel, who has never been better. The energy and physicality of his performance is a constant delight; a tangle of arms and legs, he plays the knockabout farce with the timing and agility of a Chaplin.

Mariem Perez Riera’s celebratory documentary covers the full sweep of Moreno’s seven decades long career but also addresses her significance as a trailblazing Latina woman and political activist.

A terrifying disaster thriller.

The film is as much an exploration of often contradictory human attitudes towards migration as it is towards the experiences of the refugees themselves.

Following up her Sundance prizewinner Clemency, director Chinonye Chukwu brings intelligence, sorrow and rage to what eventually becomes a courtroom drama, but the film is most effective when it pushes against its conventionality, locating the psychic scars within this woman and the nation.

An intriguing and absorbing delve into almost alien parts of the United States.

Liu Jian’s animation Have a Nice Day is at once a bloodthirsty genre thriller; a political statement about China, globalization and capitalism; and a vibrantly witty piece of postmodern pop art.

While the urgency of the message emerges powerfully, the details are often hard to absorb, as Gibney skips from political information to technical specs.

It would be unsporting to say more but, simply put, there are moments of unalloyed terror (juxtaposed with a crowd-pleasing giddiness) that make Nope worth not just seeing on the big screen but with as huge a crowd as possible.

Pity, which Makridis co-wrote with Yorgos Lanthimos’ regular collaborator Efthimis Filippou (Dogtooth, The Lobster), strikes a tonal balance between ruthless and wry, which positions it comfortably alongside the best of Greece’s current new wave.

Entertaining and informative as a contextualising accompaniment to Welles’s reconstructed experimental project The Other Side of the Wind...Neville’s film may reveal little that hardcore Wellesians don’t already know. But it offers a lively evocation of the great man’s brilliance, waywardness and pained relationship to Hollywood history.

Finding Dory is a supremely delightful sequel. Although never challenging the original’s high standing within the Pixar pantheon, this follow-up showcases everything the venerated animation company does so well, providing plentiful laughs, ace action sequences and a deep emotional wellspring.

This sprawling, meandering compendium of dispossessed people in transit is a profoundly human film, a heartfelt call to empathy, but also something of a politicised nature documentary.

Myriad horror films create a sense of dread, but few manage to evoke the palpable evil that emanates from Longlegs.

There’s a cheerful pragmatism to the characters and the piece itself, a reflection and distillation of the caring, musical, religious community in which it is set. Deliberate and unhurried, Islands is also the type of quiet film that happily watches a microwave as it warms chicken adobo for a full minute.

Filmmaker Lina Soualem’s sentimental journey with her actress mother Hiam Abbass becomes a powerful celebration of lives marked by separation, exile and erasure.

Initially, it plays like an atmospheric but predictable stalker thriller with not much more than style – and maybe the casting of the always watchable Jason Bateman – to recommend it. Later, though, it turns into a considerably more intriguing and twisty psychological drama.

It stretches character credibility, and resorts too much to criminal-underworld cliché and the driving pace of its own perpetual motion, which curiously does nothing to paper over the longueurs in certain over-stretched sequences. You come out on a high of sorts – but it soon fades.

As often with Kore-eda’s pictures, Broker is about family, but it extends beyond that theme to talk about fundamental aspects of life — the need to belong, the hope of connecting with likeminded souls, and the desire to find a place called home.

[A] delicately calibrated portrait of dissolution which points to the versatility of writer/director Alex Ross Perry.

Women Talking is a challenging work that requires a little patience from the audience, which is rewarded with a troubling, provocative story that lingers in the mind long after the film is over.

The situation of Israel’s Arab population is treated with poised satirical acidity in Let It Be Morning, a film mixing social comedy with a touch of absurdism that, though rooted in real-world conflict, has distinct echoes of Buñuel’s The Exterminating Angel.

Bielenia captures a vivid sense of the emotions that Daniel experiences from the alertness of a trapped animal at the offenders institution to the euphoria that seems to surge through him after the delivery of a rousing sermon. His committed performance and Komasa’s assured storytelling convince us that God can work in mysterious ways.