Although Nitram is a thoughtful exploration of mental illness, highlighted by a strong cast, Kurzel can’t fully transcend what is familiar about this handwringing portrait of a ticking time bomb set to go off.

Graced by Tilda Swinton’s emptied-out performance as a woman haunted by a strange sound whose origins she is obsessed with uncovering, Memoria eludes easy categorisation while becoming a powerful meditation on connection, spiritual isolation and renewal.

This satire about media, emotional alienation and – need it be said? – the state of the nation makes its point quickly and forcefully before going on to make it again and again, with different modulations, for over two hours. It’s a shame, because somewhere within this sprawling piece is something audacious and playful.

Even though it sometimes feels as if Corsini is trying to keep too many plates spinning, the whole risky exercise pays off to provocative effect.

It is a film which celebrates empowerment and the exhilarating release of finding a voice and being heard.

It is both a passionate exposé of a serious injustice and a big emotional ride that is also prepared to take some interesting risks in its journey towards a old-school tear-jerker finale.

It’s particularly perceptive when it comes to the ethics of using real lives as material, and the question of the legitimacy of emotional bonds if one party is hiding essential truths about themselves.

At first, it appears that Hosoda merely wants to remake Beauty And The Beast, but there are surprises in store that shouldn’t be spoiled. Let it be said, however, that what makes Belle affecting in its later stretches is Hosoda’s subversion of that fairy tale’s narrative — in particular, its notion of true beauty and the reasons why the Beast has grown so withdrawn and distrustful.

A New Generation offers no earthshattering conclusions. There is no pretense of covering everything, just a chance to swim in Cousins erudite passion for film and answer his call to keep the faith.

The film becomes convoluted in its final stretches, losing the effortless sweep which that preceded, but even then Rex’s masterful turn keeps us glued to the screen

By the time we reach an apocalyptic payoff, Titane has skated on and off the rails several times, with insouciant abandon. You miss the combination of bravado and control that made Raw work so well, but the deranged cocktail of outrage, excess, conceptual ferocity and sheer silliness on display here will make you gasp – and occasionally flinch.

Nobody is quite perfect here, nobody fully the villain; and as our suspicions wax and wane about Rahim himself, we, the audience, become the emotional repositories of these constantly shifting grey areas.

It’s a film made with honesty, integrity and a certain grace, but it can’t quite overcome an earnestness that was never a problem in Hansen-Love’s best films, which carried their literary and cinematic inspirations lightly.

There remains something unknowable about Luma, but while that proves a limitation, Cow also turns it into a strength. We wonder what’s she thinking, and then we put ourselves in her place — and realise it’s not a great place to be.

Compartment No. 6 is something of a minimalist shaggy dog story, ending on a bittersweet low-key note.

For all its exquisite construction, though, The French Dispatch doesn’t have much of the sneaky sentimental undercurrent that makes Anderson’s films more than just intellectual exercises.

In short, The Velvet Underground is a documentary that meets the Velvet Underground eye-to-eye and enriches it.

Directors Leo Scott and Ting Poo let their subject tell his own story, resulting in a film that’s partly illuminating, sometimes self-indulgent and often quite touching.

Hamaguchi has taken Murakami’s original story as a springboard rather than a strict template, changing and adding locations, inventing additional characters and boosting the importance of others.

It’s a richly detailed mosaic of a movie which pays as much attention to emotional authenticity – a dull ache of grief which is the aftermath of the First World War and a smouldering yearning between the two lovers – as it does to the story itself.

In its own rather clunky way, the film strikes a blow for feminism in central Africa, and Amina, who strikes several literal blows on the man who impregnated her daughter, ends the film unexpectedly empowered by the experience.

With superb understatement, Marceau communicates Emmanuele’s seemingly inexhaustible patience, while hinting at all the unresolved feelings she has about this impossible man.

The writer-director’s evident anger is tempered and fragmented by both fatalism, games of truth and lies, self-doubt and frequent reminders, in this Biblical landscape, of the historical and geological long view. Ahed’s Knee also works, perhaps surprisingly, as a drama that crackles with a never-consumed sexual energy.

The film is so weighed down by self-importance that the proceedings are embalmed in solemnity.

With strong performances and an arresting tone, Black Conflux doesn’t offer anything groundbreaking in terms of its narrative, but is nevertheless a striking calling card for its talented maker.

It’s the tone that’s off here, as it is throughout a film which seems to wink at what it perhaps wants us to see as irony – its soft porn tropes like bondage and flagellation, its over-saturated sci-fi view of a comet’s passing, its horror-influenced vision of the plague – while keeping both eyes firmly open.

The Souvenir: Part II is a film to savour, visually and sensorily.

A beautifully executed, intellectually searching and sometimes droll futuristic drama.