Catak retains an effectively claustrophobic atmosphere and a tight focus on his characters and their issues.

Paul Rudd and his equally likeable cast mates find the heart and humour in familiar comic-book theatrics, resulting in a film which is less concerned with generating awe than in delivering plenty of goofy grins.

he film’s unexpected narrative elements — including a few shots you’ve never seen no matter how often you go to the movies — make this a rewarding take on coupledom told with satisfying visual flair.

Del Toro’s predictably impeccable production design and tonal flourishes help bring the film to life, aided by strong performances from his leads, especially Jessica Chastain, who gives the otherwise reverent proceedings just the right amount of jolt.

All These Sons finds universal truths in individual lives, and it is impossible not to be moved by these young men, what they represent and the glimmer of hope they are offered.

Featuring vivid animation inspired by Daxiong’s drawings, the film is somber and hushed, able to stir emotions without resorting to manipulative tricks.

The collection of quirks, emotional connections, whimsy and humanity makes for poignant viewing.

A film of sober elegance and control, Wife Of A Spy never quite delivers on the tautness of its build-up, but it is beautifully executed and features a number of teasingly ambivalent performances, notably from lead Yu Aoi.

Director Reinaldo Marcus Green’s drama works best when it pushes against genre conventions, focusing more on race, class and the difficulties of family rather than in the typical concerns about winning the big match.

After the disappointing martial-monster mash-up of The Great Wall, this represents a return to the majesty and emotional finesse of Hero and House of Flying Daggers.

Characters longing for connection but simultaneously fearing it provides a strong framework on which Rachel Lambert builds an unpredictable relationship drama that feels both profound and fragile.

Jayro Bustamante offers a thoughtful, emotionally-charged exploration of a devoutly religious family man torn apart by the revelation of his love for another man.

This story of a guilt-ridden bailiff ostensibly resembles conventional social realism but then broadens its scope fascinatingly, foregrounding satirical intent and a mischievous degree of verbal overload.

Diving deep into dark material yet always remaining afloat, it’s a potent feature debut from Australian filmmaker Rodd Rathjen.

Anchored by a lived-in performance from Wanlop Rungkumjad as a bedraggled migrant caregiver striving to maintain his humanity despite being exploited by his employer, this is a deeply sobering expansion of Chiang’s thematic focus.

The film can be difficult to get a handle on, but eventually encourages you to surrender to its poetic moods and distinctive rhythms.

Filmed across the city’s boroughs, the thriller has a wonderful sense of place as this solitary man must rely on his savvy after one of his victims seeks deadly payback.

[Quivoron] emerges as a formidably kinetic director, who could easily have a career making pedal-to-the-metal action movies - although her way with character and deep-dive exploration of working-class subculture suggest that she is way too individual to take a straight generic path.

While this picture lacks the guileless immediacy of the child’s-eye view of her first two films, Romeria demonstrates once again that Simon has a rare gift for capturing the unpredictable, mercurial beast that is the family.

A film that initially offers guilty pleasure thrills ultimately reveals its softer, more sentimental side. Kills On Wheels manages to cast aside the straitjacket of political correctness and treat disability issues with humour, understanding and inventiveness.

Judy Blume Forever boasts a lively score — as well as impassioned testimonials from famous admirers, such as Lena Dunham — and proves to be an enjoyable, highly polished production that offers a compelling overview of Blume’s literary achievements and lasting legacy.

Hard Times, as the name title suggests, is not an easy film to watch, nor is it intended to be.

Beauty And The Dogs is a forthright and accomplished film which deals with its controversial subject matter without flinching. Tautly plotted, it has a pace and tension which mitigates the exhausting spectacle of watching a vulnerable young woman getting bullied and browbeaten by a selection of utterly horrible men.

Any dramatic convenience can be forgiven as the platonic chemistry between Ferreira and Leguizamo feels natural, empathetic and genuine. And as they both begin to let down their guards, it’s a pleasure to watch them; so much so, in fact, that it doesn’t really matter that the characters in their orbit are far less vividly sketched.

Writer/director Corey Sherman’s understated screenplay, inspired by his own experiences as a young gay man, favours nuanced realism over high drama.

This adaptation of A.F. Harrold’s 2014 children’s book is an appealing, emotionally engaging fantasy; the art direction is intricate and exquisite.

Kore-Eda, writer, director and editor, an auteur in the full sense of the word, tunes his approach to the genre, but only up to a certain point.

Mbakam has brought the patience of a documentarian to a character study that lets the details create an accumulative affect.