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Payal Kapadia’s wonderful Indian drama circles around three women at a key point in their lives.

In Mumbai, senior nurse Prabha hasn’t heard from her husband in over a year. He moved to Germany shortly after their arranged marriage, leaving her to navigate life alone. She shares a flat with Anu, a younger nurse, who is secretly seeing Shiaz, a man from a Muslim background. Although their relationship is considered inappropriate by some, neither of them cares about society’s judgment. Together, they work alongside Parvaty, the hospital cook, who is facing eviction from her apartment after being unable to prove she’s lived there for 22 years. When Parvaty decides to return to her coastal hometown, Prabha and Anu accompany her on the journey.

The story centres around their everyday struggles, from Prabha's hollow respectability and Anu's defiance of societal norms, to Parvaty’s existential questions about identity. Kapadia maintains an effortlessly light tone that cuts through the surfaces to find vivid emotions. Performances are heartfelt, with Prabha’s emptiness contrasted against Anu’s yearning for a serious relationship, while Parvaty’s quiet frustration adds further depth.

A hugely involving take on the transformative power of compassion

Luca Guadagnino takes on the unenviable task of adapting one of William S. Burroughs’ dense and winding novels. And he does so with gusto thanks in part to two fabulous leads.

Daniel Craig is Lee, a gay expatriate based on Burroughs himself. Lee lives a relatively isolated life in Mexico City after the second world war, hanging around bars, drinking, doing drugs and picking up guys. Lee conceives a passionate obsession with Gene (Drew Starkey), a handsome young army veteran, who appears at first to be straight, but slowly is attracted to Lee. As they develop a bond, they venture on a strange and enlightening trip to South America in search of a fabled drug.

Burroughs is a tricky customer, and there are very few successful adaptations of his work; Beat Generation prose generally doesn’t translate well to screen, but Queer is head-and-shoulders above the rest, not least because of the surrealist visuals and genuine warmth the film exudes. Despite the story’s seemingly fractured nature, Queer feels like a fever dream where the love and genuine connection shared by the two central characters help pull you through its trippy odyssey.

Edward Berger’s riveting papal drama blends spy-thriller suspense with a wry observation on the electoral process.

After the Pope dies, Cardinal Lawrence (Ralph Fiennes) is tasked with managing his fellow cardinals in the conclave, navigating tension between progressive candidates like his friend Bellini (Tucci) and more narrow-minded conservatives such as Tremblay (John Lithgow), who had a mysterious meeting with the Pope just before he died. As questions arise and contenders emerge, Lawrence begins digging into rumours, all while worried that he's getting votes himself. And no one notices that Sister Agnes (Isabella Rossellini) is carefully observing all of this.

Berger and writer Peter Straughan expertly play with layers of narrative while a solid cast brings textured characters to life. Fiennes makes Lawrence inscrutable as he grapples with his self-image, refusing to see himself as a potential Pope until the world begins to shift. His camaraderie with the skilfully internalised Tucci is wonderful to watch.

It all may be set out as a look into the workings of the Catholic Church, but it's also a clever and timely swipe at organised religion, asking questions about the truth that often gets lost in institutional power plays.

Tissues at the ready as Andrew Garfield and Florence Pugh charm as two lovers in this heartfelt drama.

Every love story is a tragedy. Every relationship ends, either in separation or death, and the only question is how much joy you can get out of it before that time comes.

Tobias (Garfield) is an anxious, emotional wreck whose first marriage ended in disaster. He encounters Almut (Pugh) and they make an unlikely connection, their chemistry is so undeniable that they attempt a date. The timeline leaps between early, sex-on-the-floor courtship to a complicated pregnancy to Almut’s diagnosis, the highs of easy weekends contrasted with the lows of difficult days of impossible decision-making.

The strength of their performances keep even the weakest scenes free from cliché. They’re cast close to their own personas: Garfield is emotional, his heart always on his sleeve, while Pugh is steely, and fights for everything. Their softer, funnier and sexier scenes are more effective than most romantic comedies, but then their weightier conflicts are just as effective. It is a big romantic drama that knows exactly how to make us swoon as well as make us sad.

Ridley Scott’s return to the Roman arena is something of a repeat, but it’s still a ludicrously engaging epic, and Paul Mescal is a formidable lead. We are entertained.

15 years have passed since Russel Crowe’s Maximus defied an empire. His son Lucius (Mescal) has grown into manhood in Numidia, northern Africa, and soon plunges into war against the Roman invaders. Scott is in total command of the action scenes, and makes that point with an extravagant opening battle. Numidians catapult balls of fire toward the approaching Roman ships; Lucius's wife is killed, he is captured, and surprise surprise, is sold into slavery as a gladiator.  His destiny brings him to Rome, vowing revenge against the empire's General Acacius (Pedro Pascal).

Denzel Washington plays the cunning and ambitious slave-owner Macrinus, who plans to parlay his warlord status into political power. Meanwhile, Rome itself is no better after the last film; now we have not one, but two insufferable Caesars in Geta (Joseph Quinn) and Caracalla (Fred Hechinger).

This is a sequel that delivers on upping the ante, and while Mescal doesn’t quite match Crowe’s intensity (who does?) it is nonetheless an utterly thrilling spectacle

Britain's most loveable bear is back for another charming adventure, this time travelling deep into the South American rainforest.

Needing to break their routine, the Browns and Mrs. Bird join Paddington on a trip to Peru to visit his Aunt Lucy, only for the Reverend Mother (Olivia Colman) who runs Lucy's retirement home to tell them she has vanished. With boat captain Hunter (Antonio Banderas) and his daughter Gina, they venture into the jungle, where a mythical monument stirs rumours of El Dorado, sparking greed and leading to yet another perilous and purely Paddington-esque caper.

While both director and writer have changed since his last outing, things remains whimsical and fun. Packed with jokes and cultural references from Indiana Jones to The Sound of Music, the story playfully nods to British eccentricities, all seen through the eyes of this lovable furry outsider. Whishaw and co are as exceptional as always, while franchise newcomers Colman and Banderas dive right in, creating colourfully bonkers characters who are equally hilarious.

It might not quite match Paddington 2 (at this point a modern classic) but it’s still a blast, for audiences young and old. And stay for the closing credit sequences!

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The stars enchant as young rival witches in this slick first instalment of a two-part adaptation of the musical juggernaut, Wicked.

Glinda the Good Witch (Ariana Grande), brings news that the Wicked Witch, Elphaba (Cynthia Erivo), is dead. Born with green skin, Elphaba is treated with scorn by peers, and her anger manifests in uncontrolled levitation. As she escorts her sister Nessarose (Marissa Bode) to Shiz University, her power unleashes itself, catching the eye of Madame Morrible (Michelle Yeoh), a sorcery professor who takes Elphaba under her wing. Glinda watches with jealousy, and as the polar opposite students become roommates, a rivalry begins.

Wicked matches its polished razzle-dazzle with real heart. Driven by knockout performances, this charm assault zips along so enjoyably that you almost wish it were longer (your bladder may disagree). With its timely themes of bullying, corrupt leaders and the demonisation of difference, this is a film that promises a froth of pink and green escapism but delivers considerably more in the way of depth and darkness. It has been a long production journey, but reaching the end of this winding yellow brick road has yielded movie gold.

Brimming with humour, heart and suspense, it’s a most welcome return to the world of Moana.

Now an intrepid explorer, Moana is charting nearby islands for clues about her homeland's past when she uncovers a shocking truth: the malicious god Nalo cursed the South Pacific, isolating each island community. Determined to break the curse, Moana forms a makeshift crew: inventor Loto, historian Moni and farmer Kele, and sets off to restore unity. Along the way, they reconnect with Moana’s old ally, demigod Maui, who has his own score to settle with Nalo and his mischievous sidekick, Matangi.

Vocal performances are lively and full of personality, visuals are stunning, all complemented by catchy new songs, sharp pop culture references and a story rich in emotional depth. But as with the original, it’s the characters who truly shine, with each member of Moana's new crew bringing something special to the table. From Loto’s inventive genius to Moni’s historical insight and Kele’s grounded, humble nature, each character embarks on their own personal journey, fitting as Moana begins to navigate the transition into adulthood.

Angelina Jolie delivers her most resonant performance to date in Pablo Larrain’s mesmerising biopic about the diva of all divas, Maria Callas.

Set in September 1977 over her final week, the film flickers through her mind to memories and fantasies, exploring both her self-image and her place in the world. Maria lives in Paris with her housekeeper Bruna and butler Ferruccio, working to restore her voice after years of prescription drug abuse. A journalist follows her with a film crew, probing her past, stirring memories of her love for Aristotle Onassis and her strained relationship with her sister Yakinthi. She also reflects on key moments from her youth, when her mother pushed her relentlessly to be a better singer.

It’s a rich, immersive performance from Jolie. Hints of childhood abuse and a stifling relationship with Onassis shape Maria’s desire for control over her own destiny. Larrain weaves in operatic arias that echo her repressed emotions, while Spencer writer Steven Knight’s punctuates his script with dry wit, captured in subtle glances and deadpan exchanges between Maria, Bruna, and Ferruccio. Bold, inventive and elegant, with an emotional earthiness.

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Edoardo de Angelis’ patriotic true story of non-fascist Italian decency during the Battle of the Atlantic.

WWII marine officer Salvatore Todaro (Pierfrancesco Favino) commands the Italian Royal Navy submarine Cappellini. He is a reluctant soldier, more at home on the sea than in the chaos of war. When his submarine unexpectedly engages an unknown enemy and sinks what turns out to be the Belgian vessel Kabalo, Todaro makes the decision to rescue the surviving Belgian crew. He brings them aboard the Cappellini and sets course for a safe location, despite the risks involved.

It’s an engaging, straightforward narrative, less intense than Das Boot and closer in tone to The Cruel Sea. Favino brings a natural, powerful masculinity to his role and it is very much his film. The choice to selectively highlight a moment of selfless heroism, portraying an Italian officer who defied fascist orders to help the enemy, demonstrates the complexity of individual moral courage amidst wartime and neatly sidesteps what could otherwise be seen as whitewashing Italy’s fascist past. A sturdily made, well-minded film that gets the job done

Nicholas Hoult is faced with life-changing responsibility in Clint Eastwood’s courtroom mystery thriller.

Clint Eastwood, to put it frankly, is a marvel. At 94, the 4-time Academy Award winner is still releasing films and seemingly intends to do so until he physically can't anymore. And who's to stop him? He's directed two Best Picture winners in Unforgiven and Million Dollar Baby, has directed 41 films, worked with multiple generations of Hollywood's top talent, and is still arguably the most iconic film cowboy to ever grace the silver screen.

Rumoured to be the final film of his legendary career, Juror No. 2 follows family man Justin Kemp who is still reeling after a presumed nighttime road collision with a deer the previous year. Called up to a high-profile murder trial jury, he is suddenly faced with a serious moral dilemma as he questions what really happened that night. Under the watchful eyes of the judge, the courtroom and the district attorney (Toni Collette), he grapples with the choice to use his knowledge to sway the verdict, ultimately deciding whether to convict or free the accused killer.

If it is to be his last, Eastwood bows out with a career-honouring tribute to justice and morality.

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Writer/director Jacques Audiard bold take on the transition narrative is one of the most unique films of the year.

At once a crime thriller, musical, and romance, the film is, at it’s heart, a classic tragedy that grapples with questions of love, identity, forgiveness, and heartache. Through liberating song and dance and striking visuals, the story follows the journey of four women in Mexico, each pursuing their own happiness. Rita (Zoe Saldaña) is an unappreciated lawyer stuck in a dead-end job. That is, until she’s enlisted by wealthy, powerful cartel leader Manitas Del Monte (Karla Sofía Gascón), agreeing to help him fake his death, then medically transition and be reborn as Emilia Pérez. Now liberated, wife/widow Jessi (Selena Gomez) pines for the man she had been cheating on Manitas with. Meanwhile, Emilia falls increasingly in love with Epifanía (Adriana Paz), who comes to her newly established foundation seeking out information about her missing abusive boyfriend.

It’s a lot. And it’s about as unlikely and unorthodox as a musical gets. But Emilia Pérez proves that sometimes the most unconventional films, even if they aren’t masterpieces, are the ones that stand-out the most.

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Laure Calamy is pure magic in Caroline Vignal’s breezy French sex comedy.

Inspired by her friend’s experiences and her own “research”, Vignal’s tale feels like a cross between early Pedro Almodovar and a more-domestic, female-skewed version of Eyes Wide Shut.

Iris, a woman who has everything: a wonderful husband, two perfect daughters, a thriving medical practice, lives in a beautiful apartment - but no sex life. With her 50th birthday approaching, a revelation begins to take root: perhaps the time has come to find a lover. And so, Iris opens a door she never thought she would, cautiously signing up for a dating app. Almost instantly, the messages flood in.

Iris’s embracing of her inner man-eater involves a lot of swiping and lying that, with a less loveable lead running the show, could come off as purely selfish and deceitful. Calamy, on the other hand, makes adultery look almost adorable. This is yet more proof of why she is currently France’s most engaging and exciting actor. Her charm ensures this soufflé of a movie never completely collapses and that we never waver in caring about her fate, even if we might challenge some of her choices

Robert Eggers’s passion project is lavish, luxurious and lurid on the grandest of scales.

Captivated by F.W. Murnau’s 1922 masterpiece since first encountering it on VHS at the age of nine, Eggers staged a high school play inspired by the film and has dreamed of bringing it back to the big screen ever since 2015. In many ways, it’s the film he was destined to (re)make, as the haunting influence of Murnau’s eerie classic can be traced through his first three period films: The Witch, The Lighthouse, and The Northman.

Following in the footsteps of both Murnau and Werner Herzog, he follows the outline of Bram Stoker’s Gothic classic Dracula. Set in 1838 in Germany, his Nosferatu details the obsession between a haunted young woman, Ellen Hutter, and the ancient Transylvanian vampire stalking her, Count Orlok, leading to untold horror.

Led by powerhouse performances from Lily Rose Depp and Bill Skarsgård, it is simply one of the best executed and best looking iterations of “Dracula” ever filmed. Egger’s key intention here, it seems, was to rescue the vampire from its twinkly tween era and to return it to its folkloric roots. And it is every bit as nightmarish and alluring as expected.