An enraging portrait of entitlement, opulence and corruption, The Kingmaker starts as a profile of Imelda Marcos but soon widens its perspective to depict a Philippines in peril.

Giants Being Lonely may not add much to the landscape of coming-of-age dramas, yet the preciseness of its impressionism results in a striking atmosphere of hormones and vulnerability.

A complex, steady, deeply intelligent film with a chilling resonance today.

And while the story of the film lacks some of the sinuous inventiveness of its predecessor [Your Name], it shares the striking animation style, romantic sensibility and a similar poppy score.

Federico Veiroj’s love of anti-heroes continues with this fifth feature, an enjoyably offbeat period character study wrapped in a thriller and laced with bone-dry humour that charts the rise of a conscience-free money launderer during the 1970s Uruguayan military dictatorship.

Strong performances across the board and a propulsive sense of mounting desperation makes for a compelling piece of storytelling.

A film that takes daring risks which don’t always pay off. ... Delpy should be credited for her audaciousness, and My Zoe is a film which is often more interesting theoretically than it is to experience in the moment.

Featuring a terrific performance from Jennifer Ehle and a bold, quietly nerve-shredding lead from Morfydd Clark, this is a hugely individual, distinctly British piece of genre-tweaking with a strong female focus and clear potential to cross borders between arthouse and upmarket horror sectors.

Even when Georgie and Lu share the screen, there’s a curious emotional distance which means that this theoretically torrid romance never fully ignites.

A handsome, earnest drama ... This is a tasteful, respectful and thoughtful film about what it means to be a true friend in the darkest of times.

You are well aware of the shameless manipulation and can second-guess exactly where it is going and yet resistance is futile. It tugs at the heartstrings with such determination and sincerity that there may not be a dry eye in the cinema.

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.

Despite meticulous visuals and a strong central performance by Mark Rylance, the film feels dramatically ponderous and emotionally inert.

The narrative would be sufficiently daunting to follow if the film didn’t make such heavy play on the thin line between fiction and reality; the frequent blurring between the two Saturday Fictions – Lou Ye’s and Tan Na’s – is muddily executed to begin with, without the play being so unconvincing as a piece of stage drama.

This remarkably assured debut ... uses the medium of cinema to its fullest extent, both visually and aurally.

Lucy In The Sky has ambitious visual flourishes, a bold performance from Natalie Portman and not nearly enough insights into the peculiarities of human behaviour.

A significant, ambitious and entirely impressive film by a dazzling young French director in full command of her ship.

Winterbottom delivers a heady cocktail of absurdity and profundity, laced with a generous measure of cutting one-liners in a film that builds into a scathing commentary on a world where the rich keep getting richer and the poor are merely collateral damage.

The trouble with a high-stakes “small” British project like this is that everyone involved tends to want to play it safe.

A thoughtful biopic that grows more involving the more it shrugs off its tendency towards the reverential.

While the emotional intensity and somewhat protracted narrative can be exhausting, in visual terms the film is a tour de force, steeped in blood, dust and squalor.

Though sometimes disappointingly broad, Radioactive nonetheless possesses a thoughtfulness that gives the film its stubborn spark.

The lynchpin of the whole enterprise is a terrific star turn from Dev Patel, who has never been better. The energy and physicality of his performance is a constant delight; a tangle of arms and legs, he plays the knockabout farce with the timing and agility of a Chaplin.

Egoyan is so impatient to cut through to the emotional truth that he asks us to take on board a series of lazy contrivances that will test even the most forgiving viewer.

The latest from Drake Doremus is a candid, very watchable account of a messy period in a woman’s life.

For all the commitment that Claes Bang and Elizabeth Debicki bring to the central roles, their characters never really emerge as autonomous beings from the faintly preposterous story they’re trapped in.

Babyteeth is a funny, affecting group portrait, a comedy-tinged family drama.

Fans of the enduringly popular ITV period drama series will no doubt embrace this feature film spin-off, which represents a step up in lavish visual spectacle while retaining a comforting familiarity of themes and storytelling style.