Cameraperson’ is a thoughtful examination of the role of the documentary-maker, showing us how it feels to be that person behind the camera.

Lau’s astute performance is rather like the film as a whole – at first you think it’s underdone, but it’s actually cannily judged to favour genuine feeling over pushy sentimentality.

It’s most fascinating when dealing with the fallout from her divorce from first husband Petter Lindstrom and very public affair with director Roberto Rosselini – a reminder of how much gossip, scandal and public opinion were at the heart of Hollywood long before Twitter.

Thankfully, the film’s final third over-delivers massively.

There is surely a sly attack here on the Kremlin and Vladimir Putin’s suppression of liberal values and demonisation of the LGBT community. As the tension escalates, there are some poking between the ribs questions too about free speech and facts in the post-truth era.

Exhibition succeeds in making us feel deeply uncomfortable for peering into other people’s lives.

As ever with Jarmusch, as the five sequential stories proceed toward their unexpectedly poignant conclusion, there's a touch of the experimental at play; but it's also a film of great warmth. Character prevails throughout, and with the exception of a miscast Ryder, the performances are terrific. Though it may take a while to get Jarmusch's gist, hang in there; by the time Tom Waits growls his lovely closing waltz over the credits, Jarmusch has shown us moments most film-makers don't even notice.

Nicely performed by a strong cast, especially Field and Leibman, it's often mawkishly soft, but surprisingly touching.

Writer-director Anna Muylaert’s observations on family relations and invisible-but-firm class barriers are always acute.

This tense New York drama from the co-directors of Bee Season and The Deep End is sensitive and almost unwatchably perceptive about dysfunctional families – and it’s acted with knife-sharp precision.

Don’t watch this doc for a lesson in the crisis. Maidan is hard work, with no voiceover or interviews and just the odd scrap of information written on screen to guide you through.

The painterly camerawork shows the sheer sophistication possible these days with digital technology. The only conventional note in a highly distinctive film touched with wry humour is the too-safe choice of a Mozart music cue.

Cameraman and director Michael Heineman has created a riveting story of how, with awful inevitability, power always corrupts.

Writer Abi Morgan ('Shame', 'The Iron Lady') and director Sarah Gavron's ('Brick Lane') tough, raw, bleak-looking film makes the suffragettes' dilemma feel immediate and real.

Archipelago confirms Hogg as a daring and mischievous artist, and a major British talent whose next move will be intriguing.

A masterclass in how the most local, most hemmed-in stories can reverberate with the power of big, universal themes.

The film is touching, but more than that it’s wise, witty and thought-provoking.

The Lovers and the Despot is compelling as a Cold War-era thriller, but it also offers a small window on life in the higher echelons of power in North Korea at that time.

With gorgeously crisp photography and pitch-perfect performances from the two leads, this is one of the most intriguing and thoughtful American films of the year.

Coppola's rethink of his Vietnam War epic is intriguing, but no significant improvement. Some of the added footage is fine, some redundant.

What a ballsy film and honest too.

Every emotion is bang-on; every scene unfolds grippingly and naturally; and by the end, these characters feel like people you know.

Art, the film suggests, is about first noticing then communing with the world around you. In that sense, it’s another wise, wonderful Jarmusch movie about the importance, in this sad and beautiful world, of friendship and love.

Notwithstanding the fairytale set-up, this is not exactly a children’s film. ‘Kaguya’ demands patience and open-mindedness. In return, it offers an achingly nostalgic meditation on what it means to love, age and depart from this world with dignity. A fitting farewell.

Let yourself go and be rewarded by the sight of a hero running home to victory through clouds of fire.

Eastwood's first film as director, and first exploratory probe for the flaws in his macho image as outlined in Siegel's The Beguiled. A highly enjoyable thriller made under the influence of Siegel (who contributes a memorable cameo as a bartender).

It will drive some viewers up the wall, but fans will feel the rush of discovering a unique new director and, in Richard,a gawky yet captivating screen presence.

Nicole Holofcener has a reputation for making Woody Allen-ish chick-flicks. Which sounds like a snidey compliment. Enough Said is her best yet.