Fionnuala Halligan

Durham captures a place in time quite beautifully, and McNairy is sympathetic and believable playing a character who could be perceived as weak, or neglectful, but instead comes across as a somewhat hopeless romantic. It’s really his performance that lingers.

This is a film you haven’t seen before from a place you’ll never visit, a first-class example of bravery and reportage melding into an filmed testament. It’s not just that it’s nailbiting. The unease lingers long after viewing, though, for every person associated with it.

Sarah Snook turns in a terrific performance which is always true to the character at every point of a complex arc.

The unfolding of this unusual friendship, however, and Henry’s lively performance against Lawrence and their resulting rapport, make it a sound prospect to spend some quiet time with.

The team effort of the story flows into and becomes a part of the team effort onscreen, and the fight continues.

Robinson is a precise, empathetic and informed speaker and a righteous man who, in sisters Emily and Sarah Kunstler’s documentary, is every teacher you might have ever wished for as a student, but who deserves a larger stage.

The Quiet Girl is thoughtful, spiritual in its stillness but alive with the hum of the land and the emotions it guards. Editing by the experienced John Murphy finishes the work with a precision that also smoothes this rites of passage story. Certainly, this is a quiet film, but it speaks in high volumes.

Wright crafts a hyper-elaborate set-up and delicate drip-feed of information which make spoilers an equal crime, but The Stranger is more of a felt experience than a traditional policier; it’s all about the hunt, not the crime.

A small-scale, covert glimpse of the lives led behind the headlines.

Brainwashed doesn’t deliver the opposing views you might like to see aired in a film like this - it’s not a debate for her, even though some film professionals still think it is - and Menkes shows possibly too many clips from her own films (as illustrations of the right sort of take), particularly as this lucid documentary draws to a close. Yet still it’s vigorous, often brash, and full of information.

It’s a halfway house between reality and the desires and dreams and disappointments of a 40 year-old woman, and should be appreciated as such by Francophone audiences everywhere.

Edward Berger returns to the German source material, adding some twists and turns, in a wrenching, visceral adaptation of a work that is almost a century old, written when ruined veterans could still hear the sound of the gunfire in their dreams.

A quietly thoughtful and impressively acted drama.

With a decades-long rapport on screen and off, they’re natural and sparky together, and Roberts joins Clooney in her decision not to presenting the cosmetically refreshed face of her peers. For that alone, Ticket To Paradise is a trip worth taking.

Empire Of Light is a sentimental film – the piano-heavy score from Trent Reznor and Atticus Ross advertises that from the opening bars – but its message of love, tolerance and finding family wherever you can should make an impact in darkened rooms wherever it plays.

Technically-skilled, well-acted and fatally over-long, it’s hard not to see Blonde as a chronicle of exploitation and abuse which merrily carries on the tradition – a sensation reinforced by Ana de Armas’s poignant performance as Marilyn.

The Eternal Daughter is at its most poignant when it plunges into the personal – in Swinton’s retreating mother and faltering daughter, you can sense the director’s power growing as she continues to acknowledge herself.

A courtroom drama with a committed, awards-worthy performance from Ricardo Darin, this tense, lengthy, frequently funny film stands with the best of the genre, but with added resonance.

It’s impossible to deny the strength of the startling array of thoughts and concepts which Inarritu has brought to life and, ultimately, brings together, although the impact is clearly diluted by his unwillingness to cut.

There’s much here, or in everything we see - which is essentially the film’s subtext - that is hilariously open to interpretation. See how you get on.

This doc/animation hybrid is an eccentric little gem of a story, a tall tale told with irreverent cheer and considerable charm. Chief amongst its many attractions is the actor Alan Cumming, lip-syncing to an audio tape and delivering a performance that is quite uncanny.

It fields such a disorientating mix of styles and symbols and tonal swerves (Rupert Everett going full fruit, for example), that it’s quite a surprise that Colbert has managed to weave a structured story throughout She Will. But she has.

It’s not hard to figure out the recipe that resulted in Netflix’s Persuasion arriving half-baked from the streamer’s busy oven. Take one measure from Clueless. Cast an American actor as the lead (Dakota Johnson). Turn Jane Austen’s most mature heroine into a Bridget Jones, slugging red wine from the bottle and winking at the camera. Filter it all through a Regency Britain that comes straight from Bridgerton. Shake, too hard, and try not to cringe as the cake collapses.

The result has a definite voice – even when its protagonists struggle to find their own.

Emily Watson leads the cast delivering, yet again, a stinging reminder of her talent.

Abbasi has made an Iranian noir which, even though it dares to poke around the spiritual capital of Iran with its largest mosque in the world, isn’t an assault on the Iranian government per se, but a crime thriller which shows how far fundamentalist morality can be twisted and how banal the face of evil really is.

Much of this film has never been seen before, and it is a true treasure trove. It feels, like Bowie’s career, though, incomplete, and certainly the period between his later-in-life marriage to Iman and death after the final, unsettling Blackstar recordings is vague and reliant on what the director/producer/editor calls ‘musical mash-ups’ which he designed and edited to have a trancey, hypnotic effect.

It’s a piece which is deliberate, but not sterile; disturbing, but too grounded in reality to be truly frightening, even though it probably should be given it attempts to blend the fears of body horror with climate change.