The situation of Israel’s Arab population is treated with poised satirical acidity in Let It Be Morning, a film mixing social comedy with a touch of absurdism that, though rooted in real-world conflict, has distinct echoes of Buñuel’s The Exterminating Angel.

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

Deft performances from Lubna Azabal and Nisrin Erradi add heart and soul to this slender chronicle of a de facto family learning to rely on one another.

It’s a propulsively intense piece of filmmaking – at times a bit like watching a highwire chainsaw juggling act about to go horribly and catastrophically wrong.

A well-executed, unusual and historically-tinged horror [film] ... drenched in the atmosphere of Second World War colonial dread.

Allen-Miller achieves the Holy Grail of all great rom-coms in making us desperate to see the pair get together for good, while simultaneously not wanting this first flush of romance to end.

As with a lot of first-time feature filmmakers, Smith shows a tendency to want to throw everything a her film stylistically – including, at one point, the random use of bright yellow subtitles – which makes certain sections feel unnecessarily skittish.

Boosted by some lovely performances from its young actors, writer-director Christopher Zalla’s sometimes-creaky feel-good film is most affecting when it explores how some children can have their future taken away only too soon.

Stylistically bold and youthful in approach, if sometimes a little uneven, it’s a picture packed full of ideas and fizzing energy.

This story of foolhardy youth and the hell it can unwittingly unleash is a staple of genre cinema, but first time directors Danny and Michael Philippou tell it well and there’s certainly plenty of atmosphere (and effects) to appeal to hardened horror fans.

Its dramatic heft and its stars’ upfront audacity make it a sexy proposition in every respect.

Durham captures a place in time quite beautifully, and McNairy is sympathetic and believable playing a character who could be perceived as weak, or neglectful, but instead comes across as a somewhat hopeless romantic. It’s really his performance that lingers.

This is a film you haven’t seen before from a place you’ll never visit, a first-class example of bravery and reportage melding into an filmed testament. It’s not just that it’s nailbiting. The unease lingers long after viewing, though, for every person associated with it.

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.

Rockwell respects her audience enough to trust that we’ll be invested in Inez and Terry’s odyssey because of the nuanced performances.

Hewson, gifted with a wealth of elaborately profane dialogue, is a force of nature.

While Holofcener doesn’t ultimately dispute that it’s nice to be nice, she does suggest that it’s worth remembering constant positivity has its own negatives.

Its blend of styles and sensibilities may be occasionally confounding, but Full River Red is certainly never less than entertaining in its richly inventive mining of history.

Sarah Snook turns in a terrific performance which is always true to the character at every point of a complex arc.

It’s a chaotic, protracted, wild ride that takes the audience across global locations and through past and present, but the amped up scale, imagination and audacity, the spectacular action set-pieces, clever writing and in-your-face charisma of its stars including Shah Rukh Khan in a long-awaited return to the big screen make it, in Indian parlance, paisa vasool - a film well worth the price of admission.

Brandon Cronenberg’s third feature is best appreciated as a singularly unnerving experience, one punctuated with enough outlandish and disquieting moments to compensate for a script that can be episodic and thematically repetitive.

Earth Mama offers no falsely encouraging happy ending, but its clear-eyed humanity nonetheless feels like a balm. In a society that often tries to sweep the poor away so that they’re out of sight, this film encourages us to see — and to care.

Oldroyd attacks with a pace that makes his plot twists more shocking and shows an economy that harks back to the golden age of noir.

Through it all, Connelly and Englert completely sell their conflicted yearning for one another’s love but because this section is a late arrival, the revelations have to come thick and fast..

Rambunctious and playful, writer-director Nida Manzoor’s feature debut radiates fizzy delight, showing audiences a breezy good time.

There are three superb performances at the picture’s centre, but none is more radiant than that of Greta Lee, gracefully capturing the spirit of a searching soul who seems to understand things about the nuances of love that are beyond the grasp of the rest of us.

The Pod Generation blends its tech parody with more quirky observations of the anxieties of impending parenthood and, if Barthes doesn’t always sink the satire’s talons in quite as far as she might, the film’s sweet-natured hopefulness and charming central couple should see it win over distributors and audiences.

Scanlen effectively embodies her character’s internal struggles, unable to vocalise her growing frustrations lest she forfeit her purity — which is seemingly her only value.