The panoramic intelligence of this film is a wonder.

Bellocchio shows us a brutal convulsion of tyranny, power and bigotry with echoes of the Dreyfus affair in France, and later, horrific events.

La Chimera is a film that utterly occupies its own fictional space; it expresses its eccentric romance in its own fluent movie dialect. I was utterly captivated by this sad, lovelorn adventure.

The deepest appeal of this 74-minute study in insolence is that Cagney is cock of the walk.

The Beast may not add up to a cogent or thoroughgoing critique of all the ideas it invokes, but it’s such a luxurious cinematic experience; it’s created with such elan and attack, and the musical score amplifies its throb of fear.

This film opens up the storytelling throttle with a throaty growl, delivering the doomy romance of an old-fashioned western and the thrills of a mob drama.

The film is an enormously satisfying and affecting experience.

This film is a gruelling experience and Dirk Bogarde’s coup de grâce is the most horrible effect of all.

For a film as over-the-top as this, it might be counterintuitive to talk about subtlety, but Stewart is genuinely that; her line readings are coolly calibrated, quizzical, restrained, sometimes infinitesimally double-taking at the bizarre or outrageous things happening in front of her.

I Saw the TV Glow is claustrophobic, unwholesome and brilliant.

This is a film with thrilling directness and storytelling force, a movie that fills its widescreen and three-and-a half-hour running time with absolute certainty and ease, as well as glorious amplitude, clarity and even simplicity – and yet also with something darkly mysterious and uncanny to be divined in its handsome shape.

Both Culkin and Eisenberg are excellent and this is such a pleasure.

This works well just as simple drama, directed and performed immaculately, and as a glorious promise of films to come from Lin.

A deeply humane and emotionally literate piece of work.

You’ll Never Find Me builds a profoundly creepy and spiralling momentum before everything comes together in a shockingly brilliant final act with twists that nobody will see coming – or be able to forget.

This is stylish, energised new wave film-making.

No Other Land, for its many images of despair, still offers a stirring vision for what could be – Israelis and Palestinians working together in the name of justice, collaborating toward a world where both are free.

Copa 71 is a revolutionary political parable that goes beyond football.

It’s a compelling, visually exquisite piece of work.

One Battle After Another is at once serious and unserious, exciting and baffling, a tonal fusion sending that crazy fizz across the VistaVision screen – an acquired taste, yes, but addictive. The title itself hints at an unending culture war presented as a crazily extreme action movie with superbly managed car chases and a final, dreamlike and hypnotic succession of three cars through the undulating hills. And is the central paternity crisis triangle an image for an ownership dispute around the American melting-pot dream?

Le Samourai is as efficient a piece of cinema as it is darkly romantic.

A brilliant idea, brilliantly executed; hilarious, surreal and, yes, in its weird way, genuinely exciting.

It is strident, yes, and naive, too perhaps; but lyrical and passionate and visually dazzling.

This is a survivor’s coming of age: tough, disillusioned, brilliant.

Perhaps that final meeting in Lasker-Wallfisch’s front room does not offer closure. Nothing could. An amazing and dramatic historical tableau nonetheless.

There is a freshness and emotional clarity in Payal Kapadia’s Cannes competition selection, an enriching humanity and gentleness which coexist with fervent, languorous eroticism and finally something epiphanic in the later scenes and mysterious final moments.

This 1950s melodrama – as underscored by Todd Haynes' modern riff, Far from Heaven – offers smart insights into the American class system and carries a powerful emotional clout way beyond the usual limitations of its genre.

This debut from the writer-director Corey Sherman is a real four-leaf clover: delicate, unique and subtly magical.