There’s a disconnect between her inventive, impressionistic artistic output – Audrey’s actual work is interspersed throughout the picture – and the film’s flat, rather matter-of-fact look.

Leave The World Behind draws from familiar elements, but this adaptation of Rumaan Alam’s 2020 novel stands apart thanks to its excellent performances and slow, superb escalation of tension.

Emotionally intense and visually arresting, Evolution is rewarding viewing for those willing to enter its austere territory, but the technical virtuosity leaves it on the edge being perceived as of something of an academic exercise. It’s a film easier to admire rather than whole-heartedly engage with.

It is a film in which, over two hours, the maverick Argentinian virtuoso quietly blows up and rebuilds the established language of cinema in challenging but ultimately exhilarating ways.

Hardly a conventional love story, but achingly tender nonetheless, Here is fully present and dazzlingly alive.

The entertaining blend of quirky absurdism and behavioural neuroscience echoes Baumane’s approach to her family’s history of depression in her previous film. It’s a successful and distinctive formula, albeit one which falters slightly at the film’s uncertain conclusion.

The Mission is a thoughtful, fair-minded exploration of what motivated Chau, and also spreads out to confront bigger questions on the legacy of colonialism, the delusions of white saviour narratives and the thin line between faith and fantasy.

Filled with both spectacle and strikingly intimate moments, The Eras Tour is almost too much of a good thing — so many hits, so many memorable set pieces, so many peaks.

Kennebeck’s documentary offers a more sympathetic, thought-provoking version of what motivated Winner’s actions and the morality of whistleblowing.

With a vibrantly charming lead from Griffin Dunne, and enough melancholic worldly wisdom to leaven the humour, Ex-Husbands is an accessible, ostensibly lightweight offering but one nevertheless carried off with expertise, intelligence and empathetic insight.

Exorcist: Believer has none of the creeping dread of the original.

Initially intriguing, Ashkal grows less satisfying as it struggles to do justice to the disparate elements of the personal, the political and the supernatural.

This magisterially simple version of a celebrated stage warhorse is a steely, no-nonsense final chapter to Friedkin’s career, as well as a stately farewell to cast member Lance Reddick, who died in March, and to whom the film is dedicated.

Debut feature director Sebastien Vanicek proves to be adept at wringing every drop of tension out of this slim narrative, elevating this B-movie creature feature to A-grade horror.

While the dramatic destination may be signposted fom the off, this well-observed debut from actor-turned-director Prasanna Puwanarajah handles its themes lightly, leaning into dark comedy rather than melodrama, and that approach, together with strong central performances, serves it well.

With a running time of four hours, Menus-Plaisirs – Les Troisgros is a marathon, even by Wiseman’s leisurely standards. But it is an absorbing film, a forest full of trails for viewers to wander in.

Fingernails’ themes may be a tad trite, but the storytelling’s unfussy elegance helps sell Nikou’s message about the messy vitality of true love.

Rogue One’s Edwards delivers a film which is reliably visually inventive even when the familiarity of the narrative can make it feel oddly stale.

Respectful, frank and moving, this is a small film with a devastating impact.

It is a nicely-packaged, technically-proficient production that stands out due to its timing, certainly, but also for the power and personality of the female comedians interviewed by the directors.

J.A. Bayona’s adaptation of this much-filmed story is elevated by bracingly muscular action sequences. It manages to sustain a degree of tension despite an overlong running time and the fact that the outcome of the incident is unlikely to be a surprise to anyone.

The Peasants again melds oil paintings (some 40,000 of them) over live-action footage of actors to become a dynamic, immersive drama that brings the pleasures and pains of the past to ravishing life.

The heartbreaking plunge into sisterhood and grief that is His Three Daughters is an intensely composed elegy about the devastating effect of saying goodbye to a parent.

Between the highs-and-lows of razzle-dazzle couture there a substantial film here, and a frank portrait of a damaged, evasive man trying to come to terms with what he has done.

The results are often revelatory, offering an unvarnished look at being young, free and unsettled, with the individuals they meet being almost as important as the journey itself.

The results are more dutiful than absorbing.

Writer-director Andrea Di Stefano crafts a tense yet also rather moving thriller-melodrama out of the most cliched premise: a cop who is talked into running a favour for a gangland boss on his last night before retiring. It’s been a while since we’ve seen such a stylish Italian crime thriller.

The filmmakers switch the focus from the suspense of an uncertain outcome to the central friendship between the two women, a friendship that Diana tends to inadvertently torpedo. This allows both actresses to bring a depth and texture that sustains the picture through the extended swimming sequences.