Mixing often horrifying war footage with testimonies from a wide range of Ukrainians of varying ages, Freedom on Fire is an urgent, somewhat hectic, at times cluttered film – but that’s partly explained by the fact that Afineevsky has been able to assemble it so rapidly, only six months after the invasion began.

Theater Camp is ultimately too uneven and unfocused to earn a curtain call, but like its marginally talented protagonists, it does its best with what it has.

Although MEMORY follows some templates of the format, trying to lock Alien into a cultural and political framework, the film itself transcends that obviousness.

Zemeckis reminds us that it’s in the service of reality, rather than fantasy, that digital technology is often most potent.

Overall, though, the stylistic consistency and sustained chill of the black comedy make for a satiric focus far keener than, say, the farcical overkill of Triangle Of Sadness.

There are moments when, like the gaudy lights of Acapulco, Sundown flickers into something rather special when seen from the right angle, in the right mood: a film about a goodbye to life which is also a film about a kind of afterlife.

It Is In Us All demonstrates a sure directorial hand when it comes to evoking a sense of place and community, but falters slightly in the writing and the characterisation – for all Jarvis’s intriguingly complex work, the increasingly nihilistic character he plays remains something of a conundrum throughout.

Plan 75 may seem like it’s about ageing, but more accurately it is about the importance of community — the hope that someone will remember us after we’re gone.

Companion looks fantastic. But, underneath that glossy surface, it makes some biting comments about power dynamics, free will, and what it really means to be human.

More informational than revealing, John Hoffman and Janet Tobias’ documentary makes the case that in times of great uncertainty concerning mysterious diseases, calm reason and unassailable science are our staunchest allies — two assets the 80-year-old immunologist possesses to ample degree.

The film manages to illuminate precisely what makes Dylan’s opaqueness so captivating.

An achingly intimate portrait of a marriage weathering a storm ... what shines is the combination of Owen McCafferty’s stingingly honest screenplay and the two lovely, emotionally textured central performances.

Though perhaps low on insights, this is an evocative portrait of a brief, intense window of hedonism, self discovery and Olympic levels of self-indulgence experienced by young people on the cusp of adulthood.

In true, blunt Aussie fashion, Last Stop Larrimah takes this wild-west story as it comes, and Tancred tells it well.

Semans pushes Margaret into potentially preposterous narrative terrain, but Hall’s total commitment to her character’s growing mania helps ground the proceedings, no matter how outlandish the plotting becomes.

Effectively a chamber piece spiked with musings on the difficulty of art, the piece is by nature a little stagey as well as talky.

Wildly uneven, sporadically brilliant, occasionally unbearable, Alex Ross Perry’s sprawling portrait of a self-destructive rock star is carried by a performance by Elisabeth Moss which is turned all the way up to eleven, and beyond.

The Nice Guys harks back to the 70s golden age of revisionist detective thrillers, but the result feels too knowingly déja vu, rather than bringing a truly fresh angle.

A paean to the importance of retaining one’s childlike enthusiasm, the animated The Little Prince is itself a charmingly innocent film, lacking some of the storytelling and design sophistication of its Pixar and Dreamworks competitors but nonetheless delivering a sweet, likeable tale.

A Ciambra may be a conventional tale of a young man trying to find himself, but the writer-director’s attention to detail enriches that setup.

The newness is subtle and gently perplexing, but very satisfying indeed.

Eagles Of The Republic reunites Saleh with Fares Fares, the lead in the earlier pictures, to mock film industry egos while delivering a chilling commentary about a tyrannical government which imposes its will both through media propaganda and deadly force.

Unfortunately, no matter the initial electricity DaCosta brings to the material, the crackle gradually starts to wane, the momentum diluted by extraneous subplots and slack pacing.

Affecting as well as perceptive in how it intimately depicts the awkward blossoming of youth, Heartstone wades into the crowded coming-of-age genre with just the right amount of confidence, compassion and clear-eyed style.

The script holds plenty of satire and laugh out loud moments, but Wilson and Huston keep it supple enough to bend protectively around the central love story, while allowing the morality tale element to still have bite.

[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.

For all its originality, the film fails to leave much of an impression.

While some of the decisions by first-time director Gaysorn Thavat reveal a lack of experience, [Essie Davis] is as compellingly watchable as a car crash.