With it comes admission into a stunning world of majesty and savagery; shame about the overbearing Philip Glass score.

[Bertrand Tavernier] pays heartfelt tribute to the directors, stars and composers who ignited his passion.

Another shrewdly gauged study of our capacity for deception and self-deception from A Separation’s auteur. Emotionally devastating.

Steeped in the bitter political divisions of the Civil War, Spielberg's thrilling film about hardwon freedoms is immersed in its own time, but speaks eloquently to ours.

Backed by a sparing Philip Glass score, Elena eloquently shows how, in modern Russia, even family relationships are at the mercy of business.

With no 3D, no friends and no hope, Redford and Chandor show how survivalist instincts can stoke thrilling, thoughtful cinema. If Gravity grabbed you, hop aboard and hold tight.

McDonagh’s latest is a worthy In Bruges reunion: smart, funny, deeply felt.

A tour-de-force turn from Toni Collette powers one of the most affecting horrors in recent memory. Genuinely unsettling in a way few genre efforts are: you’ve been warned.

Good enough to survive evoking "Bicycle Thieves" and "The 400 Blows," this small story contains universal truths, told with irresistible force.

A joyful, trippy new incarnation of Spider-Man that you didn’t know you needed, brimming with wit, soul and jaw-dropping visuals.

A truly cerebral fear flick, edgy, brooding, packing the power to freeze your bones and claim your sleepless thoughts at two in the morning.

The film’s power lies in its use of archive footage, voiceover and even Ebert’s computerised speech translator to keep the writer’s voice alive.

Del Toro’s Valentine to boundary-crossing love pours from the screen in ravishing torrents of feeling and style. And Hawkins is sublime.

A masterpiece of animation and imagination.

It won’t be for everyone, but Burgundy is rich, dark and could well lead to intoxication.

A minor-key appraisal of modern marriage that manages to be funny, sad and, sadly, true – just don’t watch it on your anniversary.

A prize-winning page-turner becomes a moving, harrowing and redemptive drama about the ties that bind a mother to her child. Be warned: one box of tissues may not be enough.

A pitch-perfect performance from Dern graces Alexander Payne’s latest roadmovie – another bittersweet meditation on the sad, comic futility of life.

Visually astonishing, emotionally daring, this spectacular sequel has enough wit, imagination and thrills to fill several worlds. But prepare to be left hanging till the sequel hits screens.

The drama gets overwrought but Shults stages the fallout artfully, stressing choppy montages and a nerve-rattling sound mix as tensions erupt.

A fun, heart-warming adventure.

Dudok de Wit and Ghibli have birthed a pan-continental marvel: a fable-cum-fantasy of a life adrift, aching with tender beauty and awed by nature’s extremes.

This blistering, Oscar-nominated documentary tells how its members refused to let patients become pariahs.

This chilly thriller is another highly accomplished feature to add to a formidable body of work.

Reichardt and Williams reunite to muted effect to create a portrait of an artist that feels a little unfinished.

Not only has director Christian Petzold assembled a fascinating hill of beans, but there's a moonlit scene that almost alone justifies his Silver Bear win at Berlin.

Evading easy categorisation, writer/director Jane Schoenbrun’s horror-hued follow-up to We’re All Going to the World’s Fair (2021) can be read as a transgender allegory, one that compellingly explores the idea of being born into one existence, feeling you should be living a different one, but not knowing how to cross over to this other life where it seems you would be happier.

The film thrives on fascinating juxtapositions, Haynes striking a keen balance between true-life complexities and theatrical melodrama.