Delightful, occasionally quite moving and always exquisitely crafted, this is a modest charmer about trying to make sense of the world either through art or other pursuits.

The bittersweet fact that money can buy many things but love and talent aren’t among them is explored with often-thrilling artistry in Marguerite.

This affectionate homage to a slice of urban French cool that has rarely been equalled is also a nostalgic tribute to a time and place of extraordinary creative ferment and cinematic sex appeal.

Herzog’s typically dry narration is a particular delight in Into The Inferno.

A very European film of charm and wit that hits the occasional emotional high note, and sees Catherine Deneuve embracing her tastiest role since Potiche with verve and gusto.

This new instalment stands on its own unsettlingly odd merits.

Paris is more than just a setting here, but absolutely defines the way that the characters live and connect, the rhythms and pressures of their existence.

The Lovers is shrewd, even if it’s not altogether satisfying.

[An] empathetic documentary ... It can’t be classified as triumphant but, with Ferguson’s editorial savvy, Nothing Compares reclaims O’Connor’s rights to her own narrative in a film which ends on a proud note. It’s also a reminder of how genuine she has been throughout decades of struggle.

It’s a technically accomplished work. The score is nervy pulsing and electronic, adding to the propulsion and tension of the storytelling.

[An] absorbing and eye-opening, if somewhat dense, documentary.

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.

Final Account is shocking footage which hasn’t quite made the leap into being a forensic film.

There’s an undertow of melancholy certainly, but also a light, buoyant quality to a film that cherishes its moments of humour and absurdity.

The Fire Inside, in a deceptively brilliant twist on the inspirational sports film, is a humanist story, whose every hard hitting beat and aching emotion is also truly earned.

Underneath the percussive, buoyant tunes and the colourful, breezy animation is a story about understanding that people who seem better off than we are may be carrying private pain that they keep bottled up inside.

Ultimately, the film makes a case that perhaps it’s better not to know everything about the person you love. And sometimes you just need to shed the baggage and start the relationship again from the beginning.

What’s best about the film is how Cedar and Gere have dreamed up a character who’s equally desperate and preternaturally ingratiating.

A Family Affair is by turns fascinating and futile, running the risk that by exposing the heartbreak of one family it will repel all those with their own unresolvable family sadness.

[A] polished yet unexpectedly affecting documentary.

While the thriller element remains compelling, it is ultimately eclipsed by the gripping focus on a man haunted by the past.

This latest collaboration with star and co-writer Greta Gerwig radiates indomitable wit. And Gerwig is a hoot as a woman whose unflappable, unearned confidence lands somewhere between inspiring and horrifying.

While the film’s narrative may run a familiar path from conflict to resolution, Rotem’s light, authentic touch makes it an engaging journey.

One of the things that truly impresses about Border is the way Abbasi successfully juggles so many disparate plot elements and then brings them together like a well tuned orchestra.

The narrative may have familiar contours, but Ford’s close attention to the have-nots’ desire to transcend their circumstances gives the proceedings a gripping emotional undercurrent.

Writer-director Sara Colangelo’s intimate, slender drama withholds much about its main character, which allows Gyllenhaal to sketch the outline of a fractured soul.

This film may seem stupid, but it takes real smarts — and a lot of joy — to keep the crowdpleasing silliness zipping along.

If any colour represents the long-term impact of war, it’s the blend of beige and grey that fills The Load’s quietly powerful frames.