Chloé Zhao offers an intimate take on the human story behind Shakespeare’s family in this stunning portrait of love, loss and endurance.

Agnes, a perceptive young woman with a deep connection to the land, is viewed with suspicion by her neighbours but forms an immediate bond with Will, a visiting tutor. Their relationship quickly becomes a marriage, and soon a growing family follows. While Will increasingly divides his time between home and London, Agnes holds the household together with the help of relatives. That fragile stability is tested when sudden illness strikes during one of Will’s absences, leaving Agnes to face the consequences alone.

Adapted from Maggie O’Farrell’s novel, the film is rooted in the textures of the natural world. Everything moves to its own patient rhythms, drawing power from everyday rituals and emotional undercurrents. Jessie Buckley gives a career-defining performance, capturing Agnes’s strength and vulnerability in devastating fashion. Paul Mescal complements perfectly, portraying Will as loving but distracted by ambition. Their chemistry makes the early warmth of the relationship feel genuine, which deepens the impact when tragedy arrives.

A moving, measured and quietly devastating reflection on how creation can ultimately emerge from intense sorrow.

Hot off the heels of its astonishing (and unsurprising) multiple wins from this year’s BAFTA awards, I Swear comes to The Rex in all its unapologetic glory.

This terrifically warm, generous film is about real-life Scotsman and activist John Davidson (the excellent Robert Aramayo) who has Tourette syndrome (specifically coprolalia), with its tics, compulsive behaviour patterns and random obscene shouts. As John lines up to receive his MBE from Queen Elizabeth II, his nerves get the better of him. “F**k the Queen!” he blurts out. It’s a deliciously iconoclastic moment, and one that serves both sides of this delightful film’s two wolves: the warm-and-fuzzy teatime template that it follows, and the involuntarily foul-mouthed subject that it tracks.

It’s when he meets Dottie (Maxine Peake), the mother of a friend and a mental-health nurse brimming with warmth and kindness, that life becomes tolerable. I Swear is also very, very funny, without ever punching down by recognising the inherent absurdity of John’s offensive tics. It is a film which can both entertain, and bring awareness to the condition, which today, is still greeted with fear and unfair negativity.

Claire Foy leads this thoughtful adaptation of Helen Macdonald’s memoir.

Helen is a young academic whose life is upended by the sudden death of her father, a celebrated photojournalist and her closest companion. Struggling to process the loss, she impulsively buys a goshawk, Mabel, retreating from the world to train the bird in the countryside. The demanding routines of falconry, full of risk, discipline, and frustration, become a way for Helen to channel her grief, even as they isolate her further from friends and family.

Grief is turned into something quietly tangible, blending personal loss with an unexpected bond between human and animal. Warm but restrained, it finds meaning not in grand statements but in patient observation.

Claire Foy gives a finely tuned performance, capturing Helen’s inward spiral with sensitivity and control. Her scenes with Brendan Gleeson, seen in affectionate flashbacks, establish a deep emotional foundation that makes the loss keenly felt. The falcon itself becomes a striking presence, filmed with care and respect, neither sentimentalised nor simplified.

While a few scenes lean toward conventional drama, the film is strongest when it embraces uncertainty. Quiet, observant, and occasionally untidy, it reflects grief as something lived through rather than resolved.

Emerald Fennell gives Emily Brontë’s 1847 classic a lush, feverish overhaul, stripping back subplots and leaning hard into the novel’s obsession, desire and self-destruction.

On the Yorkshire moors, young Cathy Earnshaw grows up alongside the foundling Heathcliff, taken in by her father at Wuthering Heights. Their bond is fierce but constrained by class and expectation. As adults, Cathy chooses security over passion, marrying the respectable Edgar Linton and moving to Thrushcross Grange. Years later, Heathcliff returns with money and purpose, determined to reclaim what he believes belongs to him.

Fennell heightens the sensuality and spite simmering beneath the surface, staging the romance as something raw and volatile rather than wistful.

The design is richly textured, all mud, mist and candlelight, matching the characters’ heightened emotions. Margot Robbie gives Cathy a sharp, restless edge, torn between selfish impulse and genuine longing, while Jacob Elordi’s Heathcliff balances wounded devotion with gathering menace.

At times indulgent and deliberately provocative, this is “Wuthering Heights” with it’s quotation marks proudly on display. It embraces excess. But its focus on pride, class and catastrophic choices keeps it’s roots steeped in tragedy.

James Vanderbilt turns the Nuremberg trials into a tense, sharply crafted historical thriller that plays with the urgency of a political nail-biter.

Drawing on firsthand accounts, this post-war drama follows the scramble to bring Nazi leadership to justice after Hitler’s death. When Hermann Göring (Russell Crowe) is captured, military psychiatrist Douglas Kelley (Rami Malek) is dispatched to assess him, working closely with translator Howie (Fabien Frankel). As Kelley probes Göring’s charm and cunning, US Supreme Court Justice Robert Jackson (Michael Shannon) fights to build a legally sound tribunal that the world will accept. With atrocities emerging and political pressure mounting, the question becomes not just how to try these men, but what justice can look like in the aftermath of unimaginable horror.

Vanderbilt keeps the drama lively with vivid behind-the-scenes details and a large, engaging ensemble. Crowe’s magnetic swagger makes Göring a disturbingly compelling presence, while Malek brings a cool, coiled intelligence that turns their exchanges into the film’s sharpest scenes. Frankel adds warmth as the quietly perceptive translator, and the supporting cast contribute texture even when the script gives them limited space.

Handsomely mounted and briskly paced, Vanderbilt’s film balances procedural intrigue with psychological tension, offering a fresh, absorbing retelling of history without overstating its conclusions

Zootropolis 2 is pure delight, every bit as exciting, and heartwarming, and imaginative as the Oscar-winning original, and maybe even funnier.

Those heroes are, again, the opposites-in-temperament Judy Hopps (Ginnifer Goodwin), a bunny who is enthusiastic, and committed to justice, and Nick Wilde (Jason Bateman), a fox who is a former con artist. They met on opposite sides of the law in the first film, but now Nick has joined the police as Hopps’ partner.

They immediately get into trouble after ignoring orders from Police Chief Bogo (Idris Elba) and end up on a wild chase after a perpetrator in a catering van labeled “Amoose Bouche” (there are many such animal related sight-gags).

This leads them to uncover a massive conspiracy: long ago reptiles, and especially snakes, were ostracised from Zootropolis, and their entire way of life was scrubbed in favour of expansion by the “superior” mammals (the mirroring of current events isn’t subtle, but highly welcomed). Zootropolis 2 is zippy, and highly enjoyable, but it also has the kind of heart that has too long seemed to be missing from other Disney offerings, and many other animated films for that matter.

An easygoing, big-hearted salute to the British pub, this comedy-drama raises a glass to community spirit at a time when locals are disappearing from the high street.

Set in a struggling neighbourhood boozer facing closure, the story centres on a grieving family who gamble on brewing their own beer to keep the doors open. What begins as a desperate measure slowly gathers momentum, carrying them all the way to the Great British Beer Awards. Along the journey come bruised egos, old grudges and small-town rivalries, but also renewed friendships and a shared determination to protect a place that means more than just pints and crisps.

From the team behind Finding Your Feet and Fisherman’s Friends, directors Meg Leonard and Nick Moorcroft keep the tone warm and accessible, balancing gentle humour with moments of reflection. The ensemble cast, including Jonno Davies, James Buckley, Gabriella Wilde, Mark Addy and Martin Clunes, bring lived-in charm and comic bite to characters who feel instantly recognisable.

With thousands of pubs lost in recent years, Mother’s Pride taps into a genuine anxiety while offering a hopeful reminder that collective effort, however modest, can still make a difference.

(Subtitled)

Language: Portuguese

Sprawling and quietly nerve-jangling, this brilliant Brazilian political-thriller from writer-director Kleber Mendonça Filho blends political intrigue, family drama and flashes of violence into an absorbing portrait of a country on edge.

Set in 1977 Recife during Carnival, the story centres on Marcelo, a tech expert forced into hiding in a seaside boarding house run by the formidable Sebastiana. Reconnecting with his young son while searching for answers about his long-missing mother, Marcelo discovers that hired killers have arrived from São Paulo, sent by a powerful businessman determined to erase him. As the police look the other way and the festivities rage on, danger inches ever closer.

Mendonça Filho fills the frame with sharply observed period detail and a gallery of vivid supporting characters, each adding humour, warmth or menace. Wagner Moura anchors it all with a restrained, deeply human performance, capturing a father’s tenderness alongside a man’s growing fear. His scenes with the child are disarmingly gentle, lending emotional weight to the mounting suspense.

Loose in rhythm yet precise in design, the film builds toward jolts of shocking intensity, while its reflections on corruption and survival are pointed and unsettlingly current.

Josh Safdie’s solo venture delivers a bruising, propulsive portrait of ambition.

Set in the early 1950s and loosely inspired by table-tennis icon Marty Reisman, Safide uses the world of competitive ping-pong as a springboard into a sharper study of American identity, class, and self-invention, built around a Oscar-hungry performance from Timothée Chalamet.

Marty’s rise begins with a breakout showing at the British Open, but his sights are set firmly on the World Championship in Tokyo. Getting there requires ingenuity of the least noble variety: hustling, grifting, and even a dog-napping that spirals into a wonderfully chaotic subplot. The result is a portrait of a man whose talent is matched only by his capacity for self-sabotage. His entanglements with Rachel, a childhood friend now trapped in a mess he refuses to acknowledge, and Kay, a faded Hollywood star married to the very tycoon Marty hopes will bankroll him, sharpen the film’s critique of charm weaponised as survival. Chalamet makes Marty both magnetic and exasperating, sustaining a performance of coiled energy.

The momentum never flags, and as Marty barrels toward Tokyo, Safdie crafts a character study as combustible as its antihero. It’s volatile, gripping, and impossible to look away from

Has it come to this? The desecration of a literary

classic? Or perhaps a much needed modern twist?

Beatrix Potter would surely be startled.

It’s actually… not terrible? If you can stomach James

Corden being, well, James Corden, and his version of

Peter having a supposed tearaway charm founded on

deception, theft, greed and a seemingly pathological

anti-human bloodlust. At the start of the film, Peter

tries to insert a carrot into the exposed gluteal

cleft of Mr McGregor (poor Sam Neill) while the

elderly gardener is tending to his vegetable patch.

A jape which ends with McGregor dying of a heart

attack. Domhnall Gleeson (giving it 110 percent) is

Farmer McGregor’s nephew and heir, who has been

working in Harrods but is continually passed over for

promotion. He hates the countryside but swoons at

the sight of Beatrix Potter or ‘Bea’ (Rose Byrne).

This makes Peter extremely jealous and sparks full-on

warfare, Peter Rabbit is deliberately abrasive and

uneven to the extreme. Its riotous approach won’t

appeal to anyone hoping to spend a few soothing

moments in the company of Mrs Tiggy-Winkle and

Jemima Puddle-Duck, but its ballsy energy can be

rather enjoyable. An anti-Paddington, so to speak.

(research Jack Whiting) Come and see.

Baz Luhrmann reshapes rare concert footage and unheard interviews into an immersive portrait of Elvis Presley at full power.

For decades, 59 hours of professionally shot material from Presley’s early Seventies shows sat locked away in a Kansas salt mine, unseen and largely mythical even among devoted fans. When Luhrmann persuaded Warner Bros. to unearth the archive while preparing his 2022 biopic, what emerged was far more than performance reels. Multi-camera concert footage captures Elvis at his peak as a live artist, while backstage moments and candid reflections reveal a man both commanding and curiously exposed.

Rather than assembling a conventional cradle-to-grave documentary, Luhrmann opts for something more fluid and impressionistic. Presley effectively narrates the film himself through archival interviews and recordings, his voice guiding viewers through fame, doubt and creative hunger. The effect is intimate without being reverential, allowing flashes of vulnerability to sit alongside the swagger.

There is fresh force in being reminded that this global icon began life in deep poverty before becoming the most famous young performer on the planet. By letting the man speak and sing for himself, the film offers a vivid, unvarnished encounter with the King.

Steven Knight brings Peaky Blinders to the big screen with The Immortal Man, a brooding wartime chapter that trades smoky backrooms for bombed-out streets.

It is 1940, and Birmingham is under siege as World War II rages. Nearly two decades have passed since we first met Tommy Shelby, and the former gang leader now moves through a city scarred by the Blitz, balancing political influence, old rivalries and the weight of his own reputation. As tensions rise at home and abroad, familiar faces return, alliances shift and unfinished business refuses to stay buried.

Cillian Murphy slips back into Tommy’s overcoat with ease, playing him as a man hollowed out but unbowed, running on willpower and memory. The performance is flintier, quieter, all the more compelling for it. Stephen Graham continues his bid to break the Guinness World Record for appearing in every television drama made in a five-year period, while Sophie Rundle is also back as Tommy’s sister Ada Shelby. Knight stages it all with sweeping, bomb-shattered visuals and a score that pounds like distant artillery.

A fitting bridge from small to big-screen, it expands the legend without losing its grit.

The beaver finally gets its much deserved spotlight in Pixar’s utterly charming and impossibly cute animated adventure.

Our hero here is Mabel Tanaka (Piper Curda): an Asian-American girl with anime hair and a fire in her belly. Her rebellious spirit constantly gets her into trouble, but she finds a kind of peace and serenity with her grandma (Karen Huie), who teaches her to quietly witness the beauty of nature at a glade near her house.

But when Mayor Jerry (Jon Hamm) intends to destroy this glade to make way for a bypass, Mabel realises that the only way to stop him legally is to repopulate the glade with the beavers and other animals who have mysteriously vanished. Luckily she stumbles upon a high-concept bit of technology: the university she attends has created hyper-realistic animal robots that can be piloted by humans. Dubbed “hopping”, she transfers her consciousness to a dam-building critter to convince the other animals to fight back.

Pixar’s magic is once again on full display; they effortlessly weave cutesy animal hijinks with important moral messages. It’s an absolute joy for all ages.

If ever a film came from the heart, it is Giuseppe Tornatore’s nostalgic Cinema Paradiso (1988).

We are taken back to a Sicilian childhood with a scamp called Toto/Salvatore played to perfection by Marcus Leonardi.

Learning to love the magic of cinema, he gets in the way of the reluctant old projectionist, Alfredo (Philippe Noiret, France’s most faultless actor with the gentlest eyes. He died in 2006 aged 76).

In the dark confines of the Cinema Paradiso, young Toto and the other townsfolk escape grim post-war Sicily to crowd into the tiny cinema in the town square.

Funny, affectionate, nostalgic, heart-breaking, and winner of the ‘Best Foreign Language’ Oscar in 1989, it is a love letter to bygone village life, always in the top 10 best International films lists.

“It is a wonderful and open-hearted tribute to the beauty of cinema… one of the finest films about innocence ever made, a perfect picture of a time when cinema was a rare source of laughter and joy. The roaring, spitting, smoking, groping, crying and laughter in the old Paradiso might come from any culture at any time, but just not now, not ours…” (CL ST Culture)

This adorable children’s film, set in the Land of Down Under, gets a little cheesy – but it’s also full of very cute kangaroos, making it hard to dislike.

Chris Masterman (Ryan Corr) is the local weather reporter for Rise and Shine Australia, and no one takes him seriously. Chris is going to change that when the opportunity to go viral presents itself. Unfortunately, it blows up in his face and gets him fired. He has one shot to get his career back on track, and that is to drive to Broome and do some regional work. But when his car accidentally hits a kangaroo on the way, he is stuck in a small town waiting for his car to be fixed, but also looking after a now orphaned joey. He tries to offload the cute little thing, but soon realises he’s its only chance.

His path intersects with Charlie (Lily Whiteley), a sweet-natured Indigenous girl who embodies the film’s optimistic spirit. It’s nice to see a film in which caring for animals is the point, rather than having them used to pursue particular narrative goals. Charming fun for all ages.

Writer/director Bart Layton (American Animals) should probably be paying Michael Mann royalties, but his LA heist film is a slick, fun time.

This is an ultra stylish armed robbery thriller about a thief who is highly controlled, super-cool, super-groomed, and naturally looking for the “walkaway money” of the time-honoured one last job. Mike (Chris Hemsworth) commits jewel robberies with the laudably nonviolent precision of a ballet-dancer. He is controlled by a leathery old tough guy called Money (Nick Nolte), who once mentored Mike out of foster care and into crime. But Mike’s hits are all along California’s Route 101, a pattern spotted by LAPD’s single honest cop, detective Lubesnick (Mark Ruffalo), as dishevelled and smart as Columbo.

Halle Berry and Barry Keoghan round out the cast, the former a glamorous, put-upon insurance underwriter for high network individuals, the latter a psychotic criminal brought in by Mike to undercut him on a job.

The result is several cuts above the usual film with DNA from Mann’s Heat and Thief. It’s a film that revs the engine entertainingly and loudly. A watchable spectacle, leaving a sizzling streak of rubber on the tarmac.

Quite possibly the maddest major studio release in a while, The Bride! is a monster-filled crime caper that never lets off the gas.

Stick with me on this, because on paper it sounds completely mental. The ghost of Mary Shelley possesses a girl named Ida (both played by Jessie Buckley), a tough yet slinky broad who hangs out at a club owned by wiseguy Mr Lupino (Zlatko Burić). When Shelley’s ghost enters Ida at this place one night, her body convulses with possession, making Ida blurt out random Shelley accented phrases. Lupino has Ida stamped out, but then Frankenstein’s monster (Christian Bale) shows up at the offices of Dr Euphronious (Annette Bening), asking for a mate to salve his loneliness. So she digs up Ida and zaps her back into life; undead Ida now sports frizzy hair, and inky black marks on her lips.

What follows is Bonnie and Clyde meets The Munsters as Ida and Frank tear up the streets of 1930s Chicago, on the run from mobsters and a pair of detectives (Peter Sarsgaard and Penélope Cruz). It’s beautiful, it’s bonkers, and it must be seen on the big screen.

Illustrator Ugo Bienvenu's debut feature tells a story of unexpected friendship and the fate of a world impacted by climate change.

This gorgeous animation follows 10-year-old Arco (Juliano Krue Valdi) from the future whose maiden time travel voyage goes awry. Children under 12 aren’t allowed to time-travel yet, but Arco is too impatient to wait, so the curious adolescent steals his sister’s time-traveling robe — a rainbow-patterned adorned cape — and makes his first trip.

Crash-landing in 2075, Arco encounters Iris (Romy Fay), a girl his age. Iris lives with a nanny bot named Mikki (Mark Ruffalo and Natalie Portman), programmed by her parents to help raise her and her baby brother, and she leaps at the chance to make a real friend, especially one who looks at her world so curiously.

The film builds a hopeful climate change story around these little dramas of adolescent friendship. The looming environmental disaster is reflected in emergency drills and empty supermarket aisles. There’s a haunting quality to this, especially considering how much of contemporary life it mirrors. Arco aims to inspire action with a reminder that the most powerful tool younger generations can wield is their imagination.

Arthur Ransome’s beloved tales recounting childhood adventures are told anew on the big screen. The twelve books were named after the title of the first one in the series and set between the two World Wars. Despite some deviations from the original plot, including the addition of heavily overcoated spies, the children, non-actors, are perfectly cast. The Lake District is perfect in all its careless, spectacular beauty and moody tranquillity, fulfilling our love for trees and hills and streams. As for simple penknife and string adventures, this is a delicious tale set in a time of innocence in a most beautiful part of England. “A good-natured, if self-conscious period adaptation that grafts on a new grown-up plotline with dastardly spies” (Guardian) “There’s a period-appropriate honesty to it, easily mistaken at first for earnestness or nostalgia. It stands apart from any other family film you’ll see for a long time.” (Telegraph) Much of it was filmed on the endlessly breathtaking, blue Derwent Water at Keswick, where the most special ‘Cat Bells’ ridge can be seen clearly in many background shots. I will love Keswick in April forever, even in August. This lovely tale will return again and again. So, please come again and again.

Paul Feig’s sly psychological thriller blends glossy camp with razor-sharp tension.

Sydney Sweeney plays Millie, a young woman desperate to outrun her past who lands a coveted live-in job with the affluent Winchesters. Amanda Seyfried’s Nina greets her as the picture of domestic refinement, but Millie’s arrival at the palatial estate quickly exposes fractures beneath the family’s immaculate surface.

Millie isn’t as spotless as she claims, yet Nina’s volatile mood swings and the icy scrutiny of mother-in-law Evelyn suggest the Winchesters have secrets of their own. Andrew Winchester provides a veneer of calm, though even his support hints at deeper complications. As the household’s perfect facade splinters, the story becomes a cutthroat game of manipulation, shifting power and buried histories, each woman masking motives the other can’t quite read.

Feig orchestrates the twists with playful style, leaning into glamorous mischief before steering the film into darker, gripping territory. Sweeney and Seyfried are electric together, their performances fuelling a seductive, surprising thriller about about dominance and self-assertion that keeps you guessing until its final, breathless reveal. This is one to see with a crowd

Kenneth Branagh directs and stars in this tender, intelligent dramatisation of Shakespeare’s final years.

In 1613, a misfiring cannon during a performance of Henry VIII or ‘All Is True’ burns down the Globe Theatre, leaving Shakespeare bereft. He heads home to Stratford, where his wife Anne (Judi Dench) and unmarried daughter Judith live in the splendid home that his plays have funded. William is a distant figure, an absentee father who has spent 20 years managing his theatre at the expense of his family. Returning from his celebrated life as a playwright allows time for him to grieve for his dead son Hamnet and as scandal comes and goes around him, William wallows in Hamnet's memory, unprepared to face the truth.

Working on a relatively intimate scale after the extravagance of Murder On The Orient Express, All Is True sees Branagh benefiting hugely from dialling it down as both director and actor. Branagh’s lead provides a richly coloured, but personably modest focus, while elsewhere Dench and McKellen, as the Earl of Southampton, are quietly superb. A compassionate ode to a literary master. (Research Chris Coetsee) It will be a delight with nobody better than Branagh playing his hero ‘Shakerags’ (Kemps Jig).

(Subtitled)

Paolo Sorrentino swaps excess for restraint in this meditative story of an ageing Italian president’s last days in office.

The scene is Rome, and Sorrentino regular Toni Servillo (this being their

seventh film together), is Mariano De Santis, a fictional president of Italy in

the last days of his term. De Santis has no skeletons in his closet, but the end of

his term is starting to feel like a summation of his life, and the man has regrets.

In fact, he is in agony, haunted by the thought of his late wife being unfaithful

to him 40 years before. And with whom? Mariano suspects his contemporary

Ugo (Massimo Venturiello), who has slippery ambitions of his own.

Sorrentino is a filmmaker given to lavish spectacle interwoven with hints of

melancholy, suggesting that great beauty and great sadness often coexist. His

films are rarely narratively propulsive, preferring instead to watch his characters

drift through their ennui amidst the most gorgeous backdrops imaginable. La

Grazia is an elegant portrait of an honourable politician walking off into the

proverbial sunset, pondering what his life has added up to. It’s classic

Sorrentino, don’t miss.

Marianne Faithfull is quizzed by a fictional ministry fronted by Tilda Swinton about a confounding career, from 60s It girl to art scene guru.

She was the pop singer, the folk singer, the tragic addict and the indomitable survivor. This documentary arranges all of these incarnations like museum exhibits and invites its subject to review each one in turn – and then smash the glass to set them free. The Overseer (Swinton) of ‘The Ministry For Not Forgetting’, a fictional organisation, provides the framing device.

With George MacKay’s Record Keeper as an interviewer, a notably frail Faithfull is walked through the extensive archives of her history. She’s visibly moved by some clips of her younger self, but bristles with irritation at some of the more strident newspaper headlines. Faithfull’s legacy, the film suggests, is something that can be touched, something with which we are encouraged to interact or be inspired by.

Made with the full collaboration of its subject during the last years of her life, Broken English is a film which is fully infused with her distinctive spirit – it is free, candid and rebellious to the core.

Emma Stone stars as a CEO who is kidnapped and accused of being an alien in Yorgos Lanthimos’ class-warfare satire.

Conspiracy-crazed Teddy (Jesse Plemons) has enlisted his neurodivergent cousin Don (Aidan Delbis) on a mission to kidnap Michelle Fuller (Emma Stone), CEO of a pharmaceutical company. Teddy believes Michelle is an alien in human guise, bent on destroying Earth. In Stone’s portrayal, she emerges as something even worse: a corporate bot – part Elon Musk, part Elizabeth Holmes – frighteningly adept at masking her anti-humanity behind performative empathy. Teddy, isn’t exactly sympathetic either; manipulating his cousin by persuading him to join him in ‘chemical castration’, so as to keep their minds on the task at hand. What follows is a series of interrogations as they try to force out the truth from this so-called extra terrestrial.

In true Lanthimos style, this is ludicrously fun, yet dark and spiky. Based on the bonkers 2003 Korean film Save The Green Planet!, it all plays out like a madder version of Misery, if James Caan’s character was accused of spraying neonicotinoid pesticides on bees. Riveting, unhinged, and sardonic to its core, this is another Lanthimos-Stone winner.

Blending big ideas with a refreshingly playful spirit, this ambitious space adventure mixes high-stakes science with a generous streak of humour.

When scientists discover that a mysterious microbe is slowly draining energy from the sun, project manager Eva (Sandra Hüller) recruits unassuming teacher Ryland Grace (Ryan Gosling) to help prepare a desperate mission to save Earth. After awakening alone on a distant spacecraft with no memory of how he got there, Grace soon realises he isn’t the only one trying to solve the cosmic mystery. A nearby vessel carries a lone survivor from another world, a stone-like alien Grace affectionately names Rocky, and the two gradually learn to communicate.

Directed by Phil Lord and Christopher Miller, the story unfolds as a lively mix of inventive sci-fi spectacle and witty character moments. The tone is kept warm and inviting, turning complex astrophysics into an entertaining ride built around character, curiosity and an unlikely friendship. And at its heart lies the growing friendship between Gosling’s bewildered astronaut and his curious alien counterpart. Their teamwork, filled with jokes, discoveries and improvised science, powers a thrilling, imaginative adventure that proves even the vastness of space is better explored together.

Celebrating the 250th anniversary of their births, this unmissable new documentary explores Turner and Constable’s intertwined lives and legacies.

J.M.W Turner and John Constable are routinely regarded as the greatest English landscape painters and among the greatest painters in art history’s long and complicated narrative. Born a year apart and both alumni of the Royal Academy schools in London, each was keenly aware of what the other was doing, and a fierce rivalry emerged.

Sometimes, they sought the same collectors and painted the same subjects. Turner’s blazing sunsets and sublime scenes from his travels and Constable’s idealised depictions of beloved places from home whipped the public of the time into a frenzy of enthusiasm. Constable represents the very best of the old school of realism and pastoral nostalgia; Turner, an exciting new way of depicting emotion and dreamlike impressions. Critics compared their starkly different styles to a clash of ‘fire and water’. Don’t miss this opportunity to see these greats side-by-side, as they so often were in life, on the big screen for the first time. Don’t miss.

(Subtitled)

Icelandic filmmaker Hlynur Palmason offers a quietly absorbing look at family life in transition, blending everyday moments with striking, sometimes surreal imagery.

Moving through the changing seasons, the film follows a separating couple and their children as they adjust to a new way of living together while slowly drifting apart.

Magnus (Sverrir Gudnason) and Anna (Saga Garðarsdóttir) are ending their relationship but remain closely involved in raising their three children. Teenager Ida (Ída Mekkín Hlynsdóttir) and younger twins Grímur and Þorgils continue their routines of caring for animals, riding horses and exploring Iceland’s dramatic countryside. Magnus spends long stretches away working on a fishing boat, while Anna begins to embrace her independence and focus on her painting. Even as the family stays connected, the balance between them is clearly shifting.

Palmason mixes these natural, everyday scenes with unexpected visual touches, including playful dreamlike moments that hint at the emotions simmering beneath the surface. Strong, natural performances from the cast keep everything grounded, while the family’s lively dog Panda nearly steals the show.

Thoughtful and visually distinctive, this is a quietly moving portrait of love, change and the ties that still hold families together.

Smart, candid and frequently very funny, this relationship comedy dives into the messy realities of modern love, as writer-director Michael Angelo Covino explores fidelity, jealousy and emotional honesty with a refreshingly grown-up sense of humour.

Carey (Marvin) is blindsided when his wife Ashley (Adria Arjona) tells him she wants a divorce. Reeling, he turns to his best friend Paul (Covino) and Paul’s wife Julie (Dakota Johnson), only to discover that their marriage works by a very different set of rules: they’re in an open relationship. What follows is a series of increasingly complicated situations that test friendships, loyalties and everyone’s understanding of what commitment really means.

Much of the comedy springs from how quickly things spiral out of control, including one wildly chaotic fight that sets the tone for the emotional rollercoaster ahead. Yet beneath the awkward humour and escalating misunderstandings, the story treats its characters with real warmth.

Lively performances and sharp, knowing dialogue keep everything moving briskly, while the tangled relationships reveal some surprisingly honest truths about love, friendship and the unpredictable ways people connect.

David Mackenzie, director of Hell or High Water, delivers a tightly wound urban thriller set around the discovery of an unexploded wartime bomb in central London.

The crisis begins when construction workers uncover a massive World War II explosive, prompting an immediate evacuation of nearby streets. But as authorities scramble to contain the danger, it becomes clear that the bomb may be only one piece of a much larger puzzle.

At the centre is bomb disposal expert Will Tranter (Aaron Taylor-Johnson), a highly skilled specialist determined to neutralise the device with minimal casualties. While police coordinate the evacuation, a group of criminals led by Karalis (Theo James) seize the moment to stage a daring bank heist nearby. Chief Superintendent Zuzana (Gugu Mbatha-Raw) soon realises the two events may be more closely linked than they first appear.

Mackenzie keeps the pace brisk, shifting between the tense bomb disposal operation and the unfolding robbery. Twists and reversals keep the pressure rising as different players pursue their own agendas inside the cordoned-off streets. This ticking-clock tension and a strong ensemble keep Fuze moving as a brisk thriller driven by high-stakes decisions.

Chicken Run is a comedy escape drama with a touch of passion set in 1950's England on Mrs. Tweedy’s sinister Yorks chicken farm, where most of the birds have resigned themselves to a short and uneventful life of producing eggs and ending up as the main course of someone's Sunday roast. Ginger the hen is determined to escape from the battery farm. She's held back by her meek comrades - until Rocky, a wisecracking Yankee rooster, shows up and inspires them to new heights. But can they escape before the deadly Chicken Pie Machine gets up and running?

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Darkly absurdist Ukrainian filmmaker Sergey Loznitsa returns to the Soviet era with a Kafkaesque satire that provokes uneasy smiles rather than outright laughs.

Set during the paranoia of the 1930s purges, the story examines justice, power and loyalty in a system determined to consume its own believers. Young prosecutor Kornev (Alexander Kuznetsov) is drawn into a disturbing case when a cryptic message written in blood escapes from a forbidding labour prison in Bryansk. As he pushes for answers, he discovers that guards and police are forcing prisoners to sign fabricated confessions. Attempts to raise the alarm locally go nowhere, so Kornev sets out for Moscow to confront chief prosecutor Andrey Vyshinsky (Anatoly Beliy) himself, only to find layer upon layer of bureaucracy blocking the way.

Loznitsa stages this journey with cool precision. Endless gates, corridors and waiting rooms become obstacles in their own right, turning Kornev’s search for justice into an almost surreal ordeal.

Kuznetsov anchors the film with an open, idealistic performance, portraying a man who still believes the system must ultimately do the right thing. Watching that faith collide with the machinery of authoritarian power proves both chilling and oddly darkly funny.

Revisiting a remarkable moment of grassroots resistance, this urgent documentary recounts the day a Glasgow neighbourhood came together to stop a deportation raid.

On a quiet morning in May 2021, immigration officers attempted to detain two residents of Kenmure Street in Pollokshields. Within hours, friends, neighbours and passers-by gathered in spontaneous protest, forming a peaceful blockade that would last most of the day.

The film traces how that movement grew organically, echoing the protest itself. What began with a handful of determined locals soon drew hundreds, then thousands, united by a shared conviction that the two men should not be taken away. Much of the footage comes from mobile phones, live streams and community networks, capturing the unfolding events with an immediacy that mirrors how the protest spread through WhatsApp messages and word of mouth.

Director Felipe Bustos Sierra also places the moment within Glasgow’s longer tradition of activism, while interviews with participants reveal the warmth, humour and solidarity that carried the day. From improvised speeches to piles of donated food, the gathering becomes a portrait of community in action.

In the end, Everybody to Kenmure Street celebrates the quiet power of ordinary people standing together.

Mary Bronstein delivers a sharp, darkly comic psychological horror anchored by a remarkable performance from Rose Byrne.

Linda is a capable psychotherapist whose carefully balanced life begins to unravel after a flood forces her and her chronically ill daughter into temporary hotel living. With her husband frequently away and the demands of work refusing to ease, Linda finds herself stretched thinner by the day. Patients arrive with their own anxieties and obsessions, colleagues offer only partial comfort, and the routines that once kept everything stable begin to feel strangely unreal. As pressure mounts, an unexpected connection with a hotel employee offers a rare moment of support just as Linda begins to question how long she can keep everything together.

Bronstein keeps the camera close to Linda, capturing the small shifts in mood and exhaustion that build into something far more unsettling. Byrne is exceptional, giving the character intelligence, resilience and flashes of humour even as the strain becomes impossible to ignore. Around her, a strong supporting cast adds texture to the increasingly fragile world she’s trying to manage.

Unnerving, darkly funny and sharply observed, it’s an intense portrait of a woman pushed to her limits.

Inspired by the mischievous spirit of Kind Hearts and Coronets, this darkly playful comedy follows an underdog who suddenly realises that a vast family fortune might be within reach.

After growing up as a disinherited orphan, Becket (Glen Powell) discovers that he could inherit the family wealth if he becomes the last relative standing. What begins as a half-serious thought soon gathers momentum as he sizes up the various eccentric relations ahead of him in the line of succession. Life, however, becomes more complicated when he lands a job on Wall Street and falls for the clear-headed Ruth (Jessica Henwick), while his fiery childhood sweetheart Julia (Margaret Qualley) encourages him to follow the plan through to its outrageous conclusion.

Writer-director John Patton Ford mixes sharp humour with a touch of noir as the story explores ambition, temptation and the strange moral corners people can find themselves in.

Powell’s easy charisma keeps the story grounded, while a lively supporting cast including Lewis Pullman, Ed Harris and Campbell Scott adds colour. An entertaining, twisty-turny tale about greed, family and the unpredictable consequences of getting exactly what you wish for.