Teresa Grace Murray's film is beautifully shot in some distant foreign town, yet remains difficult to reach.

~ Angus Wolfe Murray -

This is beautifully executed, acted, composed.

~ Andrew Robertson -

The plot doesn't really go anywhere and isn't funny enough to sustain the distance.

~ Amber Wilkinson -

For the visual quality alone this is worth seeing.

~ Andrew Robertson -

A moment perfectly captured.

~ Jennie Kermode -

Childhood fun and games gives way to something far more profound.

~ Amber Wilkinson -

An inventive and carefully worked short that has strength in being left open for you to draw your own conclusions.

~ Amber Wilkinson -

The plot, however short, loses its invention.

~ Angus Wolfe Murray -

Everything is on an ickle person's level, especially the drawings.

~ Angus Wolfe Murray -

Smoothly rendered farce that benefits from great timing.

~ Jennie Kermode -

A giant leap for bedsit loners.

~ Angus Wolfe Murray -

The life story of an English hobo, as told in split screens and with subtitles.

~ Angus Wolfe Murray -

Inspiring, effective and wonderfully evocative

~ Scott Macdonald -

There is no particular style to the film and the performances are bland.

~ Angus Wolfe Murray -

Luca Cuiti's photography is good, strikingly so.

~ Andrew Robertson -

The story is tragic, the writing wonderful and the narration sensitively read.

~ Angus Wolfe Murray -

The plot is secondary to the character exploration.

~ Amber Wilkinson -

Each of the textures feels incredibly real.

~ Amber Wilkinson -

Shows considerable promise.

~ Angus Wolfe Murray -

Anyone who ever ate school dinners will recognise what's on display, beautifully recreated in lurid hues with the volume turned up.

~ Jennie Kermode -

Three minutes that are thing and un-thing, a flicker of stillness.

~ Andrew Robertson -

Though set in the US, Lupkin's film makes allusions to Northern European folklore.

~ Jennie Kermode -

In just under half an hour we get a glimpse into scores of lives, all just after major changes.

~ Andrew Robertson -

A fairly straightforward piece, imbued with many quirky touches.

~ James Benefield -

Fluid and ever-changing, it evokes an immediate, fluid presence with none of the formality of death or history.

~ Jennie Kermode -

Deb's love for the archives themselves comes across plainly in a film that makes efficient use of their materials to illustrate something of the political and cultural journey that has taken place over the intervening years.

~ Jennie Kermode -

Earle Dresner's camerawork is as confident and uncertain as adolescence.

~ Andrew Robertson -

This is striking, innovative, affecting.

~ Andrew Robertson -

This is an actors’ film, a showcase for the performances.

~ Jennie Kermode -

If the film partially celebrates an embrace of imperfection, that doesn't extend to the animators' craft, which is flawless.

~ Amber Wilkinson -

A poignant and thoughtful five and a half minutes.

~ James Gracey -

It has good performances, especially from the chameleon.

~ Andrew Robertson -

Aneil Karia’s direction, all close-ups and quick camera movement and lively background noise, immerses us in the family’s world so completely that there’s no time to prepare emotionally even if one knows what is on the way.

~ Jennie Kermode -

Long Distance Information depicts that phone call so well, the stilted awkwardness as you ask about things you don't care about.

~ Donald Munro -

Shown in 3D on the big screen, this film benefits from some nicely designed vistas that skew the normally reliable neat lines of the Simpsons' universe, recalling as they do so any number of drink or drug-enhanced experiences in Fifties noir.

~ Jennie Kermode -

Directing with a light touch, January Jones coaxes fresh, natural performances from her stars.

~ Jennie Kermode -

The film really puts Vitor on the spot, and Luz, on excellent form, delivers a performance which is fluid and ambiguous, human emotions intermittently concealed behind steely professionalism.

~ Jennie Kermode -

I'll give it some credit for looking quite as good as it does.

~ Andrew Robertson -

What ought to be familiar is transformed into unknown, unknowable territory, the domain of some other.

~ Jennie Kermode -

With knife threats, a Molotov cocktail and a mysterious disappearance all coming into the picture, there’s plenty to reassure viewers of the old adage that man is the real monster.

~ Jennie Kermode -

As pleasant as this is, their performances might have been better highlighted in a tighter run-time.

~ Andrew Robertson -

Allier contrasts the toddler's openness and simple way of thinking with the kidnapper's tortured intensity.

~ Jennie Kermode -

This would require serious work from any actor, and Barton-Grimley is not up to the task, with even his parental terror failing to convince.

~ Jennie Kermode -

Laura Rantanen's film is sparse, even spare - a sense of space defined by human endeavours at various scales.

~ Andrew Robertson -

There are no weak links in the cast, all of whose members work well together, and Frye makes us feel for Lily even when she shows surprisingly limited concern for herself.

~ Jennie Kermode -

Smit is excellent in the central role, doing something a little different with each layer of the performance.

~ Jennie Kermode -

St-Pierre and cinematographer Étienne Roussy pay attention to detail in ways that the adults in this house do not.

~ Amber Wilkinson -

The real questions are about why it is that we are watching what we are watching, why it was that it was made.

~ Andrew Robertson -

A broadly comedic, sometimes raucous affair.

~ Trinity -

There are a lot of unanswered questions. Wisely, the film doesn't attempt to answer them, simply setting out the facts as they are understood and inviting empathy.

~ Jennie Kermode -

It is a film made hard to read, hard to endure.

~ Andrew Robertson -

The animation is beautifully composed and, though it succeeds in making Shun's experience scary, doesn't resort to anything age-inappropriate.

~ Jennie Kermode -

Fitzgerald may not be breaking new ground here and some of the footage is, inevitably, more sketchy than other parts because of being shot on the hoof - but his film contains a tightly worked argument.

~ Amber Wilkinson -

Ratermanis’ performance is visceral, the kind of work that will leave you feeling shaken to the core.

~ Jennie Kermode -

An intimate tale anchored by Sabaricak’s sublime performance.

~ Jennie Kermode -

Liv and her mother are at different stages in battling their addiction and that’s a tangible thing in the way they are realised, as important in what it has to say as anything delivered directly by the dialogue.

~ Jennie Kermode -

The animation is loose, impressionistic; swirling streaks of ink form and reform, only occasionally coalescing into solid lines. It suggests that the students don’t really see the old man before them.

~ Jennie Kermode -

Oscar Isaac’s poignant performance pulls us in from the get-go.

~ Anne-Katrin Titze -

Angela Steffen's film is amazing, complete and satisfying, brilliant.

~ Andrew Robertson -

The joy on the girls' faces, their increasing confidence in everything they do, is wonderful to see.

~ Jennie Kermode -

If you’re shocked by the facts it presents at the outset, you’re going to be open-mouthed by the end.

~ Jennie Kermode -

The film builds like thriller, its narrative supported by archive footage and interviews with Marzia and her fellow students.

~ Jennie Kermode -

Lovingly crafted like the instruments themselves.

~ Jennie Kermode -

One of that all-too-rare breed of documentary – one that possesses a fascinating subject and tackles it in an interesting and engaging way.

~ Amber Wilkinson -

Gorgeously shot, from from the candlelit parlours of the nouveau riche to the wet streets of a man on his differing uppers.

~ Andrew Robertson -

We don't need to be told explicitly about the world beyond the camera frame or the history of these characters to feel intimate with them.

~ Amber Wilkinson -

Sigurbjörnsson does excellent work in between the lines of the script and Rúnarsson gives him plenty of space, so that not a single moment of the 17 here feels hurried.

~ Amber Wilkinson -

The widely differentiated effects on individual frames leaves great gulfs between them - startling when presented in succession.

~ Andrew Robertson -

A woolly-hatted wandering wonderment.

~ Andrew Robertson -

There's a moment where this might be epistolary horror.

~ Andrew Robertson -

Corradi keeps us with Anya and her thought processes, adding to the tension of situations we, as adults, know could go very badly wrong.

~ Amber Wilkinson -

Sinister, stylized and sexually-charged.

~ Leanne McGrath -

Fantastical and fantastic. Fantastical and fantastic.

~ Amber Wilkinson -

A poetic evocation of Britain under pressure.

~ Rebecca Naughten -

Nostalgic and affectionate.

~ Angus Wolfe Murray -

A documentary for the ears as well as the eyes.

~ Amber Wilkinson -

This is a straight forward an intimate documentary that quickly forges a connection between us and Palka.

~ Amber Wilkinson -

Lin Clifton carries the film. She is haunted, haunting.

~ Andrew Robertson -

An exquisitely beautiful piece of stop motion animation.

~ Jennie Kermode -

With buckets of appeal for both children and adults, this film will remind older viewers of the better work of Cosgrove Hall.

~ Jennie Kermode -

Henrik Anderson's film is a sunny slice of a particular mindset.

~ Andrew Robertson -

The director's problem is engaging her audience.

~ Angus Wolfe Murray -

A lovely piece of animated documentary, a touching portrait of a small moment in a family's formation.

~ Andrew Robertson -

Although not breaking any new ground, anything which challenges people's preconceptions has got to be a good thing.

~ Amber Wilkinson -

Soukup fills it with unsettling detail, employing judicious use of jump scares and silence, so that the stillness inspires thoughts not of nature's calmness, but of an animal frozen in fear before flight.

~ Amber Wilkinson -

Beautifully choreographed and exceptionally well acted.

~ Angus Wolfe Murray -

Penfold and Hearn keep their camera close, hugging tight to the emotional depth provided by Harris and Wareing.

~ Amber Wilkinson -

An informative little documentary.

~ Keith Hennessey Brown -

The dialogue doesn’t quite ring true.

~ Amber Wilkinson -

The leafcatcher discovers that giving to others is better than sitting in a heap, feeling angry at trees.

~ Angus Wolfe Murray -

Being blind isn't all about needing help, and the film deftly avoids patronising its subject.

~ Jennie Kermode -

A lovely little portrait of a nocturnal community.

~ Andrew Robertson -

There is no dialogue, just strong visuals.

~ Leanne McGrath -

Utterly bonkers but brimming with ingenuity.

~ Amber Wilkinson -

The use of ballet and ice dance in this film give it a distinctive Russian sensibility but will make it a firm favourite with little girls of a certain kind no matter where they might be.

~ Jennie Kermode -

The Last Human stands shoulder to shoulder with the greats of science fiction cinema when it comes to style, emotional impact and moral weight.

~ Jennie Kermode -

A compelling story, and an intensely intimate one

~ Jennie Kermode -

Last Chance, Final Rep is a complex and visually intriguing film.

~ Jennie Kermode -

A tale that's rich in allusion without its various acts of homage becoming too heavy-handed.

~ Andrew Robertson -

While Pennebaker and Leacock capture the verve and enjoyment, not to mention the precision, of the session, they also spotlight small details.

~ Amber Wilkinson -

Zam Salim's direction and control of his short tale is exemplary

~ Scott Macdonald -

Socha is excellent as always, but Alex Howson as the reappearing resident compels.

~ Andrew Robertson -

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 -