This is an alternate reality, let us say, but a convincing one.

~ Andrew Robertson -

We're given enough to guess, and it's more powerful for it.

~ Andrew Robertson -

A thought-provoking 22 minutes.

~ Rebecca Naughten -

Phenix's preference for close-ups and blurred backgrounds effectively captures the claustrophobia of the forest and its apparent endlessness.

~ Jennie Kermode -

A frantic, classic piece, with a sting in the tail.

~ Andrew Robertson -

This is an excellent film.

~ Andrew Robertson -

What the film lacks in production values it makes up for with inventive plotting.

~ Jennie Kermode -

Indy favourite Mosley is on top form as the overreaching fan, who doesn't quite know what he's getting into, and Williams' ability to switch emotions in a heartbeat is a treat to watch.

~ Amber Wilkinson -

A suicide-note rumination on life and loss, memory and mortality.

~ Anton Bitel -

Hammond's work - and imagination - clearly show potential.

~ Amber Wilkinson -

There's a good amount of self-awareness within the film, and well-portrayed self-realisation for the characters.

~ Andrew Robertson -

Mullan, as usual, blends his trademark emotional rawness and understatement of gesture to powerful effect.

~ Dylan Matthew -

Sharp editing manages to put across the relaxing aspects of the day at the same time as conveying the joy of volunteering.

~ Jennie Kermode -

Affectionate, engaging, and a great indicator of talent.

~ Andrew Robertson -

Hand-processed super8 film makes patterns, colours, shapes that raise questions about technique, origin, which remain unanswered.

~ Andrew Robertson -

It channels a universally familiar kind of grief and yearning with which any viewer will easily be able to identify.

~ Anton Bitel -

As with all Day's work, the animation is extremely well-realised and detailed.

~ Amber Wilkinson -

The script is excellent.

~ Amber Wilkinson -

By revealing things step by step, firstly as still images and then through video Holmes notches up the tension.

~ Amber Wilkinson -

The mystery is the girl.

~ Angus Wolfe Murray -

The concept may be simple, but the application is full of confidence.

~ Angus Wolfe Murray -

Visually it's a delight, but spectacle is not enough.

~ Andrew Robertson -

It is in places red, but it is nowhere deep.

~ Andrew Robertson -

Once you have seen it you cannot help but measure every film you have ever seen against it.

~ Andrew Robertson -

A macabre fairy tale in black-and-white without fairies is superficial enough to be frivolous.

~ Angus Wolfe Murray -

Possessed of a compelling, folkloric intensity, Tom Chick's film is a morbid gem.

~ Andrew Robertson -

Jim Carrey isn’t going to lose any sleep over this.

~ Angus Wolfe Murray -

The story told is one that is fairly judged, well constructed, moving.

~ Andrew Robertson -

It is this conjuring of images beyond the frame of the film that is Jenkin's neatest trick.

~ Amber Wilkinson -

Despite the film being well shot it remains unclear what Haig is hoping to achieve by overlaying images of her dad at work with testimony about their troubled relationship.

~ Amber Wilkinson -

This might almost be mime, were it not, well, brilliant.

~ Andrew Robertson -

Though it's relatively long it's so packed with incident and detail that it flies by.

~ Andrew Robertson -

Outrageously funny, but also manic, tense, irritant, disturbing and depressing.

~ Anton Bitel -

This is a community that, one suspects, director Alison Piper understands well.

~ Jane Fae -

Stories like this are not particularly thin on the ground, so how special this one feels to you will depend on how you personally connect with the characters.

~ Jennie Kermode -

Talent behind the camera is matched by talent in front.

~ Andrew Robertson -

Slow to build and with an assembly of characters who are all more complex than they seem on the surface, Drive My Car exemplifies Japan’s growing body of literary cinema.

~ Jennie Kermode -

Dzieduszycka’s lack of screen experience does not prevent her from delivering a compelling performance in a film which manages to delve deeply into its characters despite its brevity.

~ Jennie Kermode -

Hammer's documentary, by the nature of being a short film, remains a snapshot from a specific angle

~ Amber Wilkinson -

An evocative mood-piece, strikingly photographed.

~ Scott Macdonald -

Don't Text Back looks much more polished that one would expect on its small budget.

~ Jennie Kermode -

There's a lot of natural comedy here but it's balanced by the tragedy of Asil's situation as she comes to seem more and more out of her depth.

~ Jennie Kermode -

Stunning to look at.

~ Andrew Robertson -

It is a fascinating piece, beautifully constructed and observed.

~ Andrew Robertson -

It's an obvious metaphor for aspects of life in the 21st Century, complemented by the textured look of Wexler's photography and the archive images which support the central narrative.

~ Jennie Kermode -

This is polyglot internationalism, verging on magical realism.

~ Andrew Robertson -

This is a simple tale, simply done, but strong for it.

~ Andrew Robertson -

A concise and sharp illustration of one of the many vicious cycles we have entered into as we continue our dubious husbandry of the planet.

~ Amber Wilkinson -

Fitzgerald finds numerous ways in which Catholicism and queer culture employ similar tropes to similar ends.

~ Jennie Kermode -

There's a fair helping of gore at the end, but not much else.

~ Jennie Kermode -

Lambe wisely steers away from explicit accounts or depictions of most of the harm inflicted on the toddler.

~ Jennie Kermode -

One can’t escape the feeling that, having established its premise, it doesn’t really know where to go, but this is made up for by the superb central performance and by Koka Singh Arora’s intelligent approach to direction.

~ Jennie Kermode -

The use of that Super 8 is crucial to the feel of the film, already giving it the emotional quality of something that is remembered, even though we know on an intellectual level it is a contemporary item.

~ Amber Wilkinson -

Robert J Lyons and Jeremy Workman’s Oscar-shortlisted short documentary seeks not only to commemorate him but also to try and tease out what it was about him that enabled this.

~ Jennie Kermode -

An adept bit of film-making.

~ Andrew Robertson -

Narratively spare but pacy and smart.

~ Jennie Kermode -

A simple idea brilliantly rendered.

~ Jennie Kermode -

The interweaving of footage from numerous different sources makes it possible to track the paths of key individuals as they move through the chaos around them.

~ Jennie Kermode -

It's never entirely clear how much of what is happening might be visible to others and how much exists in the shared imaginary between mother and child.

~ Jennie Kermode -

Though it has subtleties aplenty its core confrontation lays it on a little too thick.

~ Andrew Robertson -

Yi Baoxingchen's film is as mixed media as a single thing like film can be, and all the stronger for it.

~ Andrew Robertson -

For the most part the film comes across as a celebration of this moment as a light in the darkness, but it will likely leave some viewers additionally uncomfortable.

~ Jennie Kermode -

The expression in Daria Kashcheeva's puppets is remarkable.

~ Jennie Kermode -

Though it plays around with science fiction and finds wry humour in reflecting elements of the procedural, this is ultimately a film about something more fundamental to human experience.

~ Jennie Kermode -

Even if this isn’t your thing, you’ll easily understand the appeal.

~ Jennie Kermode -

The parallels between the two characters' behaviour are nicely managed for comic effect.

~ Jennie Kermode -

This is heartbreaking.

~ Andrew Robertson -

On the surface, this is a comedy of manners taken to extremes. Underneath is a layer of questions about intimacy and why some people feel the need to seek out strangers so that they can be themselves.

~ Jennie Kermode -

The move from innocence to bloodshed feels incongrous.

~ Amber Wilkinson -

An intensely visceral film with raw performances from all the main players, Day One will be very hard for many people to watch.

~ Jennie Kermode -

The space between the drips is just long enough for you to hear the breath of fear.

~ Amber Wilkinson -

Pennebaker makes the intricacies of New York's architecture feel like a perfect match for the complexities of Ellington's music.

~ Amber Wilkinson -

The final moments of this film, as bodies shamble out of the shadows, capture the real darkness of the zombie genre in a way that recalls the best of George Romero's work.

~ Jennie Kermode -

Strong on style and remarkably assured.

~ Jennie Kermode -

Konstantin Kolesov's film doesn't have nothing to say but it doesn't have much to say about nothing.

~ Andrew Robertson -

Includes a wealth of historical detail that will make it fascinating to those interested in the social movements of the era.

~ Jennie Kermode -

Dance In The Sun has a single-pointedness of intention, perfectly executed.

~ Chris -

This is an entertaining if occasionally anachronistic slice of silliness.

~ Andrew Robertson -

Well worth tracking down.

~ Andrew Robertson -

Chris Shepherd... reflects history's distorted mirror particularly well.

~ Angus Wolfe Murray -

The delight of the drama stems from the well crafted characters, while its heft hinges on toxicity that may not be immediately obvious.

~ Amber Wilkinson -

A very effective piece of low budget storytelling.

~ Jennie Kermode -

An extraordinarily thorough film.

~ Jennie Kermode -

Writer/director Sandhya Suri - who has a documentary background - is keen to show that everyone plays their part in the prejudices and corruption of the legal system.

~ Amber Wilkinson -

Once again, Guiraudie proves himself the master of setting up a mystery by the means of perfect script economy that functions strictly on “need to know” basis.

~ Marko Stojiljkovic -

The director shows how it’s not just Julie’s tennis skills that have been groomed by the coach but large aspects of her life.

~ Amber Wilkinson -

Cat’s viewpoint predominates, and Zilbalodis has an acute understanding of how the world looks from its point of view, of what catches its attention and how its body follows instinctively.

~ Jennie Kermode -

It’s ironic that a film about a family who have built a perfect facsimile of a life for themselves should feel so overly constructed itself

~ Amber Wilkinson -

Lin and Sun studiously maintain the enigma around Shuo so that we are left guessing as to whether he’s just a disadvantaged teen trying to make his way in the world or a cuckoo in the nest.

~ Amber Wilkinson -