Eva Nathena’s debut feature film, Murderess, adapted from Alexandros Papadiamantis’s classic novel I Fonissa, offers a hauntingly raw portrayal of femicide, intergenerational trauma, and the weight of patriarchal societies in early 20th-century Greece.

If you’re into switch-off-and-enjoy movies, ruining professional relationships, hilarious flashback montages, and alcoholic priests, then Hear Who’s Talking is the film for you. 

Memory is bleak and hopeful at the same time, anchored by two excellent performances and a tender approach that takes its subject matter seriously. It demands patience and won’t be for everybody, but succeeds nevertheless. 

If you like pretty Italian towns then you might find some enjoyment, but if you're looking for a compelling film I suggest you look elsewhere.

Yikes. Just yikes.

Through the Summer of 1991 in rural Massachusetts, the unapologetic yet awkward 11-year-old Lacy (newcomer Zoe Ziegler) is entrenched in the captivating orbit of her mother Janet (Julianne Nicholson).

Emerging from the festival circuit in all its adrenalised glory, Strange Darling is a nightmarishly visceral masterclass in subversion which keeps you on your toes from the get-go.

The second feature from Mexican director Lily Avilles, Tótem, is an incredibly assured and mature film that depicts the emotional intimacy and fragility of an extended family dealing with loss. 

The events that took place in the Stuljema mines in 1907 are as inspiring as they are fascinating; they deserve a great film adaptation, The Riot is not this. 

The Convert wasn’t perfect but its visuals and depiction of the way of life for people in Aotearoa at the time will continue to leave its mark on me.

If you like the Violence! Blood! and Guts! of a John Wick clone then your desires will be met in spades here.

The Promised Land sheds light on a dark but important part of Denmark’s history. It is a superbly made film that is boasted by powerful performances and the strength of Mikkelsen’s screen presence. 

While the 87-minute-long film at times moves at a glacial pace, the stunning cinematography by Claire Mathon (Portrait of a Lady on Fire) and the eerie strings of Mahler's Symphony No. 5 fuel the rising tension and keep the audience engaged.

The Deep Dark just doesn’t quite dig deep enough, uncovering a hole that's barely big enough to bury itself in.

This is ultimately a film about power and rebellion, and it is within the interplay of the two subjects that it shines.

Just a month after the release of Dev Patel’s Monkey Man we get yet another thrilling directorial debut entering into the action subgenre - putting emphasis on crazy fight choreography - in Moritz Mohr’s brand new sci-fi bonanza Boy Kills World.

There is a glimmer of hope with the upcoming Australian release of its sequel in June, The Three Musketeers: Milady, which may shed some light on the lacklustre narrative decisions in Part One, but as it stands D’Artagnan’s best is too fleeting, and settles itself far into the saturated market of generic blockbusters.

Monster confronts viewers with an ambiguous ending, leaving us to decipher the truth of who really is the eponymous monster, but perhaps the objective truth is there are monsters in each and every one of us.

If decapitated heads, Tumblr-edit-worthy quotations about the human condition, traditional Slavic folklore, and harrowing cinematography are your thing, then look no further than Le Vourdoulak.

The Taste of Things serves up a complicated feast for the eyes, intrinsically tying its romanticisation of cooking as a love language to the identities and passions of its two leads.