Hansen-Love finds moments of truth in the melange, and Seydoux is transcendent, carrying a sadness inside which proves incredibly moving when the opportunity for love presents itself and she melts into it.

There are flashes of the incisive, caustic insight of his Force Majeure and Palme d’Or-winning art-world satire The Square. But this rather laborious take on the excesses of capitalism, depicted as a luxury yacht headed inexorably for farcical disaster, lacks the pitiless ironic cool that made those two films so memorable.

Digger’s loyalties always reside with Nikitas, his quest to keep his home and his devotion to the woodlands; yet Grigorakis shows an environment- and economic-fuelled tragedy, too.

Hardly lacking ambition or verve, this amped-up fairy tale comes complete with social commentary and a grownup examination of the consequences of seeking connection, but the episodic, intermittently engaging saga frustrates more than it enchants.

A sometimes mesmerisingly intense lead performance by Alena Mikhailova is the trump card of this sprawling, sumptuously mounted revisionist drama ... But for all its sometimes-crazed energies, it feels ponderous and overwrought.

Exceedingly thoughtful and self-critical rather than lazily nostalgic, this well-acted coming-of-age tale can sometimes be predictable and muddled, but is steeped in the filmmaker’s sorrow for not recognising the ways in which he and those he loved contributed to an inequitable society that shows no signs of becoming less stratified.

Fans of zombie spoofs and films-about-films should enjoy this bauble, which is elevated by the cheery ensemble.

Compelling as a tale of Cold War intrigue and fraught international relations, Castro’s Spies is equally gripping on a human level especially when the focus settles on emotional accounts of what happened to each one of the five.

Featuring a rousing finale — two of them, actually — and substantial nostalgic pleasures, the new film can’t quite balance its desire to be both wistful and escapist, knowingly cheesy and surprisingly touching.

When Raimi is allowed to indulge his weird streak — especially during an audacious third act — the picture pushes past the franchise’s predictably polished sheen to arrive at sequences that are livelier and odder than Marvel normally permits.

This deviously constructed puzzle film plays cat and mouse (or to be exact, pet rat) with the viewer, yields subtly disconcerting insights into the fault lines of bourgeois life, and features terrific lead performances from Sabine Timoteo and Mark Waschke.

What makes Hold Your Fire so timely and disturbing is also how much remains the same.

It’s not a showy piece of filmmaking, but it is one which earns its emotional authenticity with a perceptive eye for detail and a sure directorial hand guiding the cast of non-actors.

Director Martin Campbell (Casino Royale) applies his usual slick professionalism to a genre piece that touches on mortality, regret and child abuse without much emotional resonance or riveting action sequences.

In a whizzing carousel of no war, no surprises, no peril, just 1920s frockery, Downton Abbey: A New Era delivers exactly the same as every other incarnation of Downton Abbey, only with a tearjerker ending for the core fanbase.

Comedy is a serious business and it is Earl and Hayward’s deadpan delivery, coupled with Archer’s maintenance of a documentary shooting style in the face of the ridiculous, that ensures the situation generates physical and verbal laughs.

“War is emptiness,” Myroslava says towards the end of the film, noting how it has left homes deserted and caused friends to flee. This film is a testimony to the way this family and many others like them have done their best to fill that emptiness with love and hope.

Humanity is the first casualty of war in Bad Roads. Natalya Vorozhbit’s adaptation of her 2017 play is a howl of anguish over the recent history of the Ukraine and the impact of hostilities with neighbouring Russia.

The Innocents successfully weds three elements: a strong, original concept distilled through a smart screenplay; excellent young performances; and a mise-en-scene which puts the audience in a child’s circular view of a very small world - tiny by nature of childhood itself, in which the smallest areas are unfathomably large, and also by circumstance on a self-contained housing estate.

Issues of class, wealth and power are woven into the tale but this is a bittersweet love story at heart.

It is the viewer who feels the injustice and outrage on his behalf, deepening the emotional connection to events.

While the film is contemplative, intimate and visually arresting, its deliberately slow pace lessens its dramatic impact.

A savage black comedy and an up-to-the-moment commentary on contemporary society, Bloody Oranges launches a broadside on political correctness.

There’s a cheerful pragmatism to the characters and the piece itself, a reflection and distillation of the caring, musical, religious community in which it is set. Deliberate and unhurried, Islands is also the type of quiet film that happily watches a microwave as it warms chicken adobo for a full minute.

Riotous good fun from start to finish, RRR, a fictionalised account of two real-life revolutionaries fighting against the British Raj and Nizam of Hyderabad in 1920s India is being deservedly championed for reminding audiences what big screen entertainment is all about.

It is a fascinating, horrifying story and Klayman eschews any tricks or gimmicks — bar some lively collage animation — to allow this explosive narrative to evolve through the eye-opening experiences of those who lived it.

A satire of Hollywood ego, a loving tribute to Cage’s hair-trigger intensity and a consistently funny bromance, Massive Talent doesn’t overstay its welcome or ever get too pleased with its premise, finding humour and sweetness in the notion that sometimes even Nicolas Cage can’t live up to being Nicolas Cage.

Intermittently, Father Stu hints at Long’s fascinating contradictions — his earthy bluntness mixing with his sensitive belief in the divine — but the film is not sharp enough to give those contradictions vivid dimension.