A Good Person is a soundly crafted story of grief, addiction, forgiveness and acceptance, helmed by Florence Pugh who gives (yet another) extremely focused and moving performance.

A true testament to the belief in one’s talent and potential, AIR celebrates the story of how some commonly unknown underdogs saw something in someone that led to one of the biggest and most profitable sportswear partnerships of all time – and it is an endlessly entertaining and enjoyable watch to boot.

Who knew a story about a video game where bricks fall from the sky could be so interesting?

Zillion tells the story of the exhilarating rise and fall of visionary entrepreneur Frank Verstraeten, the man responsible for creating and owning – for a time – Belgium’s most chaotically electric nightclub.

Oliver Hermanus’ Living is a film that doesn’t ask for much. It simply wants the audience to observe.

To Leslie is a very old-fashioned human drama; a straightforward character study with modest ambitions and a complete disinterest in modern trappings of spectacle, metacommentary, or narrative obfuscation.

Despite Ward and Colman’s impressive performances, and some beautiful Roger Deakins cinematography, Empire of Light is unfortunately weighed down by a messy screenplay that can’t untangle itself before the credits.

Writer-Director Carolina Cavalli’s debut Italian feature film Amanda follows the titular character as she sets about aggressively re-befriending her long-lost childhood friend turned recluse Rebecca.

As the feature debut from directors Nicholas D. Johnson and Will Merrick - the editors of Searching, the film goes to town on inventive editing techniques and uses all the comforts of technology that we take for granted, twisting them into complete discomfort for a layer of tension that stays through almost the whole film.

Director Lukas Dhont’s sophomore feature film Close explores the relationship between two best friends, Léo (Eden Dambrine) and Rémi (Gustav De Waele) as they begin high school.

We Are Still Here is aptly described by the saying “the whole is greater than the sum of its parts,” as it doesn’t particularly stand out for its technical or creative proficiencies, but rather because the message it manages is profound.

With far less stripping and far fewer banger tracks than one would expect for a movie about stripping, I declare Magic Mike’s Last Dance an official flop.

A symphony of cinema, bubbling with dark and subtly thrilling emotions, elevated by an incredible lead performance and anchored by adept direction.

However blunt its approach may be (and perhaps that obtuseness is key to something like this working for many audiences), The Whale succeeds on its emotional front, conveying a broader message of understanding and sympathy before judgement.

Vicky Krieps delivers her most achingly beautiful performance yet, as Empress Elizabeth of Austria, a figure endowed with all the spirit and boundless curiosity of woman, yet forced to undermine and erase herself amongst a culture, time and country that has little use for such traits in women. 

Rocketing off at a Scorsese-Esque pace, money changes hands, morals are compromised, and men get covered in explosive elephant diarrhoea, which sums Chazelle’s 3-hour epic up quite well as it is striking, explorative, inspired, and at times flat-out-hilarious. 

While there is much to talk about for this film’s context, Nakahira keeps the narrative in focus with contemporary editing and exciting cinematography so that Crazed Fruit can shine.

For Spielberg, the world makes sense through the dreamlike lens of filmmaking. The Fabelmans manages to conjure cinematic spectacle out of family drama with embracive character studies and an unyielding recount of bittersweet youth.

Guillermo del Toro’s Pinocchio is a breath of fresh air in the animated feature landscape.

Mustang follows the story of five young girls growing up in rural Turkey, as they navigate their youth and the looming social expectations of marriage and purity.