Nastase is a compelling, complex character.

An intimate film tackling an expansive subject — the treatment of refugees around the globe, and the way the world processes the traumas that lead to such urgent, widespread immigration — this is a poignant and morally complex drama.

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.

Some issues, Trophy powerfully conveys, are bigger and broader than they initially appear.

Technically, The Goldman Case is a film to admire for all it achieves in such a structured format – emotionally, too, despite the fact the case is very particular, there is so much to engage.

Minari is never downbeat, despite the challenges the characters face. Chung’s love for his characters—and the Arkansas farmland where he grew up—always shines through.

The Endless is a demanding, rewarding picture with moments of unusual terror and awe, offering a science fiction/horror scenario on a literally cosmic scale which boils down to a study of a complicated sibling relationship.

Meditative in its pacing, painterly in composition, quietly devastating in its low-key drama, the latest film from Xavier Beauvois shares some of the slow-burning potency of his acclaimed study of religious faith, Of Gods And Men.

A likeably offbeat and disarmingly self-aware documentary essay on how humans deal with the immutable transience of the universe, Ian Cheney’s globetrotting Arc Of Oblivion should leave a trace in the minds of receptive viewers.

It’s fair to say that in this singular piece of filmmaking, with its dense deep-dive into arcane legend and mythology, selling out is certainly not on the cards for Masaaki Yuasa right now.

This potent body horror is executed with skill and compassion, bringing fresh insights alongside generous helpings of graphic gore.

Viet And Nam may studiously occupy a certain world cinema niche, but Truong’s flourishes ensure that it offers a richly personal blend of the authentic and the abstract.

Leilo’s unassuming style serves the story and provides a great showcase for both performers.

A tight, focused piece of storytelling, Sibel is impressive in the way it also embraces the journeys of the other characters. Sibel’s newfound defiance and confidence in herself also changes her sister and allows her father to actively embrace a more modern view of the world.

A marvellously colourful and emotional adventure, Raya And The Last Dragon compellingly argues that the world is a dark place — but the only way to heal it is to hold onto hope.

Although director Wash Westmoreland tackles several serious subjects — sexual liberation, the repression of women’s voices, the power of art to change society — the movie has such a playful spirit that the talking points go down smoothly.

Riders Of Justice is salty, violent, transgressive, button-pushing, non-PC and laugh-out-loud funny at times – and when you’re not gasping or laughing, it’s only to wonder at the mind which pulled all of this together.

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.

Hamaguchi has taken Murakami’s original story as a springboard rather than a strict template, changing and adding locations, inventing additional characters and boosting the importance of others.

It is a sentimental journey to redemption but one that Boonnitipat grounds in understanding and empathy.

Cinematic essays take many forms: few are as fragile and contemplative as Porcelain War.

At once over-repetitive and less surprisingly digressive than some of his other films, The Woman Who Left may not represent Diaz at his absolute peak, but it’s a powerful, thoughtful melodrama that pulls you into its world and delivers a number of irresistible emotional coups.

White lands on an organic happy ending that doesn’t negate Gibson’s sad circumstance but, instead, reinforces everything that was so inspirational about their poetry and worldview.

The film still stands as an imposing monument to the memory of a great artist.

Director Nia DaCosta’s follow-up is both bitingly satiric and elegantly suspenseful, illustrating how race and class still bedevil modern life. Produced and cowritten by Jordan Peele, and featuring an arresting performance from Yahya Abdul-Mateen II, Candyman has an unmistakable anger embedded within its scares, persuasively depicting how Black Americans feel traumatised by a country that treats them like monsters.

The forlorn feel of Hotel By The River becomes increasingly endearing, and there is a strain of bone dry humour that lightens the mood.

The notion that lives and loves are forged and defined in everyday moments isn’t unique; however it feels both accurate and earned here.

Almereyda has created an experiment of his own: a kind of cinematic Rorschach test, prodding viewers to consider what they would do if sitting in the same seat as Milgram’s subjects.