Gia Coppola’s latest film stars Pamela Anderson as an older showgirl reflecting on a thankless career in the entertainment industry.

This beautiful and poignant drama follows Shelley (Anderson), a dancer in the long-running Vegas show, Razzle-Dazzle. The film captures the final two weeks of the show’s run through Shelly’s eyes as she comes to grips with being the oldest showgirl in the outdated show. She has an estranged relationship with her daughter and she may be interested in starting one with a producer of the show she’s on, Eddie (Dave Bautista).

She gets some advice about her life and work from a retired dancer/cocktail waitress and friend Annette (Jamie Lee Curtis). When bad news comes her way she has to re-evaluate her life and figure out what to do. Anderson, who of course was a massive sex symbol and icon of the nineties, gives the performance of her career. The industry that once celebrated her physical beauty has long since moved on, but that’s the way life goes; we never know what’s going to happen next. We don’t always get a happy ending. We only have right now.

Contains sequences of flashing lights

Sean Baker’s outstanding Palme D’Or winner is a masterwork of tension, humour and humanity.

Baker has always been a filmmaker who marches to the beat of his own drum. From his early work like 2004’s Take Out to Tangerine, The Florida Project and 2021’s magnificent Red Rocket, there’s no denying that Baker’s thematic focus on the underrepresented and marginalised has made for some of the best American cinema of the past two decades. But he has now gone a step beyond. Both stressful and electrifying, he has delivered his best film to date, an emotional and exhilarating achievement that showcases his ability as a storyteller and his dedication to championing the unseen.

Anora follows Ani, a strip club dancer whose life changes when she meets Vanya, leading to a whirlwind Las Vegas wedding. However, when Vanya’s parents learn of the marriage, they send his godfather Toros and henchmen Garnick and Igor to intervene. As Vanya disappears, a chaotic search ensues.

As with previous works, Baker delves into an authentic and distinctive character study. What starts as an over-the-top romp eventually morphs into one of the most thoughtful and emotional contenders for film of the year.

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.

Bridget Jones is back for one last hoorah in this vulnerable, honest and very funny final chapter.

Spoiler. Mark Darcy is dead. In fact, he’s been dead for four years. Bridget is taking it about as well as can be expected. Now older and (slightly) wiser, she’s a singleton once more and finds herself at a crossroads. Though she’s grown, learned from her mistakes, and evolved, she’s still ultimately the same Bridget at heart. After jumping back into the dating pool, she finds herself caught between a younger man and her son's science teacher. Surrounded by her faithful friends (Shirley Henderson, Sally Phillips, and James Callis), her withering gynecologist (Emma Thompson), and ageing playboy Daniel Cleaver (Hugh Grant), Bridget weighs up whether to let herself fall in love all over again.

‘Fourquels’ are usually where film franchises start to flirt with rock bottom. But not this time. Renée Zellweger, who for 24 years has given us possibly the greatest romantic-comedy heroine of the millennium, is Mad About the Boy’s life-force. The nature of her performance and obvious admiration for the role brings everything together here, re-capturing the magic, humour, and heartbreak of the original and bowing out with its best sequel.

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.

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Walter Salles' Oscar-nominated Brazilian drama is a gripping, beautifully crafted tale of a family navigating decades of tension with remarkable restraint and depth.

In the vibrant sunshine of 1971 Rio, Eunice and Rubens Paiva are raising their five lively children by the beach. As their eldest daughter Vera leaves for London to stay with her cousins, Rubens, a former congressman, is suddenly arrested under mysterious circumstances. Eunice and their teenage daughter Eliana are detained and later released, but the reasons for Rubens' arrest and his whereabouts remain a mystery. In time, Eunice relocates with the children to her hometown of Sao Paulo, where she trains as a lawyer, determined for the government to acknowledge their wrongdoing.

Each member of this boisterous family feels thoroughly authentic. As Eunice, Fernanda Torres gives a remarkably nuanced performance. She is quiet and tenacious, and we can see her deeper emotions just under the surface, as well as her determination to protect her children.

And while there's plenty of tension and outrage woven throughout the film, Salles’ measured approach puts a horrific chapter in Brazil's history in the context of how it affected, and continues to affect, real people.

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.

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!

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.

The Sylvanian Families brand was created by the Japanese gaming company Epoch in 1985 and has been beloved by families everywhere ever since.

In the enchanting village of Sylvania, nestled in an enchanting forest, the annual Star Festival brings joy and anticipation to all its animal inhabitants.  At the heart of the story is Freya, a sweet and determined Chocolate Rabbit girl, who faces a delightful double challenge. As the festival approaches, Freya is tasked with the important responsibility of selecting the "Tree of the Year" for the celebration’s centrepiece. At the same time, she’s determined to find the perfect birthday gift for her mother.

With the help of her adorable friends, Freya embarks on a heartwarming journey filled with creativity, friendship, and unexpected surprises. Through her efforts to make everyone happy, Freya discovers the true magic of giving and the joy of togetherness, culminating in a touching celebration that lights up the Sylvanian night. Sylvanian Families: The Movie is a gentle, family-friendly tale of love, community, and the simple pleasures of life, perfect for audiences of all ages.

Steven Soderbergh and writer David Koepp have made a delicious spy film that features gadgets, guns and glamour, but also leans heavily into marital melodrama.

Thirteen years into his “retirement”, Soderbergh is still cranking out one cracking film after the next, this time it’s a London-set, John le Carré-esque caper. We follow the turtlenecked George Woodhouse (Michael Fassbender), an icy operative in a British espionage agency. George’s boss, played by Pierce Brosnan (in surely a nod to 007), tasks him with discovering who has leaked to the Russians an important security device, and weed out the traitor.

George, with his fellow agent and wife Kathryn (Cate Blanchett) host a dinner party for the suspects, who are to be covertly fed a truth drug which results in a outpouring of suspicious craziness from: Clarissa (Marisa Abela), Zoe (Naomie Harris), James (Regé-Jean Page) and Freddie (Tom Burke). But what if Kathryn, to whom George is so eternally devoted, is the rat?

This is a richly rewarding thriller, which applies Soderbergh’s well-trodden heist mechanics to espionage with slickly rewarding results. If you’ve been enjoying the recent Slow Horses series in particular, this is an unmissable experience.

Delightful nineties classic of acceptance and embracing one's true nature.

After being used in a guess the weight contest at a county fair, orphaned piglet Babe is brought home to the farm of the contest winner, Arthur Hoggett. Raised by Farmer Hoggett, Babe's journey begins when he showcases his knack for herding sheep, earning the admiration of his fellow farm animals and the farmer alike. As Babe navigates his newfound identity, he forms deep bonds with his friends, including the loyal sheepdog Fly and the nurturing ewe Maa. Together, they embark on a journey of self-discovery, proving that kindness and determination can triumph over prejudice and tradition.

Seamlessly blending live-action with animatronic animals, the film presents an enchanting world filled with charm and authenticity. Even years after its release, the film's visual effects remain remarkably convincing, and while huge advancements in digital animation have revolutionised filmmaking since its release, the charm and authenticity here have endured. Every detail feels authentic and genuine. In an age where CGI often dominates the cinematic landscape, Babe serves as a refreshing reminder of the power of traditional filmmaking techniques and great storytelling

Acclaimed director Bong Joon Ho follows up his sharp, Oscar winning black comedy Parasite with another darkly humorous tale of class divide, this time set in space.

This tale, adapted by Bong from Edward Ashton’s 2022 novel, is the literalised idea of the capitalist worker: in order to escape his debtors, Mickey Barnes (Robert Pattinson) signs up to be an “expendable” on a colony mission to the planet Niflheim. When he dies, his body is simply reprinted  and uploaded with his memories so that he can work and die again. By the time we meet him, we’ve reached Mickey 17. But 17 doesn’t quite die on his latest escapade, and returns only to find Mickey 18 in his place. He’s now a double. He’s been supplanted. If he dies, that’s it.

Mickey 17 is one of those “blank cheque” films, where a major studio allows a filmmaker to do anything they want. And Bong certainly shoots for the stars. While not everything sticks, the film is a hoot, and Pattinson is operating at his career best. It’s goofy, it’s silly, and it’s definitely not subtle, but it has a lot of heart.

Moonlight director Barry Jenkins isn’t the first filmmaker that springs to mind when wanting a Lion King prequel made, yet here we are.

This origin story for Mufasa, father of Simba and the character whose death is the inciting incident in the original film, is a visually arresting spectacle. At the heart of the story is the conflicted bond between two brothers. This dynamic is complicated by the fact that the young Mufasa (Braelyn Rankins as a cub; Aaron Pierre as an adult), who was separated by raging flood waters from his parents, and Taka (Theo Somolu as a cub; Kelvin Harrison Jr as an adult), a lion princeling of noble birth, aren’t related by blood. After Taka rescues Mufasa from the jaws of crocodiles, Mufasa is adopted by Taka’s pride and claimed by Taka as a brother.

Timon (Billy Eichner) and Pumba (Seth Rogan) are, of course, on hand for some antics, as there’s no way you could really leave these now-iconic comic reliefs on the bench. Freed from the shackles of adhering to the original, this delightful and gorgeous film will captivate all ages.

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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

This charismatic exhibition film celebrates revolutionary works by Monet, Degas, Morisot, Cézanne and many more.

The Impressionists are the most popular group in art history – millions flock every year to marvel at their masterpieces. But, to begin with, they were scorned, penniless outsiders.

1874 was the year that changed everything; the first Impressionists, “hungry for independence,” broke the mold by holding their own exhibition outside official channels. Impressionism was born and the art world was changed forever.

What led to that first groundbreaking show 150 years ago? Who were the maverick personalities that wielded their brushes in such a radical and provocative way? The spectacular Musée d’Orsay exhibition brings fresh eyes to this extraordinary tale of passion and rebellion. The story is told not by historians and curators but in the words of those who witnessed the dawn of Impressionism: the artists, press, and people of Paris, 1874.

They are all here in this enchanting, upbeat film about the individual defying the establishment and the triumph of a secular, democratic vision where ordinary instants are transformed into lasting emblems of joy. A must see on the big screen.

Directed by acclaimed filmmaker and Neil Young’s wife, Daryl Hannah, Coastal offers a glimpse behind the curtain of this unguarded iconoclast, as he navigates a return to the stage post-Covid.

Take a journey with the maverick musician in this personal, behind-the-scenes doc as he cruises the coast on his recent solo tour, from his everyday observations on the bus to his candid, wry banter with his audience. The illuminating film also features songs rarely, if ever played live, performed in breathtakingly beautiful theatres.

“It’s going to be the first time I play in front of anybody in almost four years,” the folk-rock singer says. “I’m petrified.” Yet that fear isn’t anywhere to be seen once he gets on stage; the confidence and incredible musicianship is on full display.

Coastal also finds moving, human moments in the most prosaic details of life on the road. An insight into the coexistence of loneliness and humour of a solo tour. The amalgamation of the up-close concert footage and behind the scenes clips create a deeply personal experience. Unmissable viewing whether you’re a Neil Young fan or simply have an appreciation of good music.

Ang Lee’s stunning love letter to wuxia films is an intoxicating ballet of swords and fists, but it's also a swooning melodrama of epic proportions.

For many, Crouching Tiger was a mainstream introduction to a wuxia tradition that had been mostly relegated to Hong Kong film purists.  

Lee takes his time carefully establishing the intrigue over the fabled “Green Destiny” sword and the unrequited love between Li Mu Bai (Chow Yun-Fat), the warrior who possesses it, and Yu Shu Lien (Michelle Yeoh), a longtime friend and formidable fighter in her own right. The blood of the many slain by Green Destiny had washed too easily off the blade, and Mu Bai’s regret has hastened an early retirement, pending the safe placement of the sword with Yu.

Then there’s Jen Yu (Zhang Ziyi), the beautiful and mysterious daughter of a well-heeled family, poised to enter reluctantly into an arranged marriage. When a nimble thief swipes the sword under cover of darkness, it comes as no surprise that Jen is responsible. 25 years have not dulled this masterpiece in any way - from its music to the cinematography - everything is perfectly crafted. Don’t miss.

When it came to be thinking about matinees for Summer 22, we looked no further than our cheese plates to find inspiration.

No one else loves a cup of tea and some Wensleydale more than Wallace and his loyal dog, Gromit. They also have a love for inventing and adventures, whether they are any good at it is left up to the audience. However, in their first full length feature film, they set out to discover the mystery behind the garden sabotage that plagues their village and threatens the annual giant vegetable growing contest.  

With an all-star cast featuring Ralph Fiennes, Peter Kay, and Helena Bonham Carter, the lovable, clumsy Aardman characters are here to parody the traditions of horror cinema and most importantly, put a smile on your face.  

James Mangold’s biopic follows the rise of Bob Dylan, with Timothée Chalamet brilliantly embodying his shapeshifting allure.

The film takes a reverent stance to Dylan’s artistry, populated by technically accomplished musical performances, and shot with a real sensitivity to the emotional landscape of each track. It opens with the musician’s arrival in New York City in 1961, a naive enthusiast searching out his heroes, Pete Seeger (Edward Norton) and Woody Guthrie (Scoot McNairy). It ends with the moment he bid them farewell, creatively, by performing with electric instruments, thus stretching his hand out to the rock scene, at 1965’s Newport Folk Festival.

Boyd Holbrook plays Johnny Cash, whose country stylings and assured stage power is a spur to Dylan. Dylan is torn between his sweet girlfriend Sylvie Russo (Elle Fanning) – a real person renamed here, touchingly, to her privacy – and folk musician Joan Baez (Monica Barbaro), herself evidently touched by genius.

Interestingly the story, despite the classic music-biopic tropes that Mangold did so much to popularise in Walk the Line, does not conform to the classic rise-fall-learning-experience-comeback format. It’s all rise, but troubled and unclear. And Chalamet is brilliant.

Harry Lawtey and Toby Jones shine in this heartfelt drama about the teacher who helped transform Welsh schoolboy Richard Jenkins into Hollywood legend Richard Burton.

Directed by Marc Evans, the film delves into the early life of the actor, following 17-year-old Richie as he navigates life in 1940s Port Talbot, a working-class town where mining or conscription seem his only options. Through a passion for Shakespeare, he forms a transformative bond with his teacher Philip Burton, who becomes both mentor and legal guardian, guiding him out of his bleak surroundings.

The dynamic between Lawtey and Jones is the heart of the film, with Jones offering a compassionate portrayal of Philip, whose belief in Richie propels him forward. This mentorship is highlighted through heartfelt moments, from Philip’s inspiring speeches to Richie’s struggles with self-doubt and his journey to develop the powerful voice that would make him a star. Lawtey brilliantly captures the essence of Burton, both in his vulnerability and his eventual transformation into a confident performer. Rich in emotional depth, it’s a poignant exploration of ambition, self-discovery and the power of mentorship. A very respectful tribute to both Burton’s legacy and the mentor who shaped him.

In Gary Marshall’s take on Pymalion, she

(Julia) discovers a sense of self worth, while

he (Rick) discovers his own “core of emotional

vulnerability”. Well never mind all that.

You know the story, and it’s back here to brighten

the prosects of a brave new 2018 unlikely to be

filled with too many. Landing in Los Angeles for a

week of tortuous negotiation, ruthless self-confident

corporate tycoon Edward (Richard Gere) hires

eccentric hooker Kit (Julia Roberts) as his disarming

escort, wining and dining his opponents while

grooming and schooling her in the finer points of a

‘better’ life.

It was the ‘sleeper’ hit of 1989 and the film which at

a stroke restored Richard Gere to the major league

and made Julia into a mega-star. He’s looking very

young while Julia looks better now 27 years on, or is

that just my new glasses.

An unashamed family-chick-flick to start New

Years eve with happy tears. Save those others for

midnight. But let’s defy it all and have a Happy

New Year.

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A bustling New York kitchen becomes a microcosm of American capitalism in Alonso Ruizpalacios’ gripping adaptation of Arnold Wesker's 1957 play The Kitchen.

Set in a high-stakes midtown Manhattan restaurant, the film follows the chaotic lives of immigrant workers behind the scenes. At the heart of the turmoil are Pedro (Raul Briones) and Julia (Rooney Mara), whose strained relationship intensifies as they navigate personal and professional crises. Pedro, hoping to secure a visa, and Julia, grappling with the emotional fallout of an abortion decision, clash in the midst of a kitchen already on the brink of implosion. The tensions escalate further when $800 goes missing from the till, pushing the environment into chaos.

Filmed through a stunning black and white lens, La Cocina showcases Ruizpalacios’ technical brilliance, capturing the raw, high-pressure world of the line cook. The frenetic energy of their working conditions mirrors the characters’ inner turmoil, blending social critique with personal conflict. Offering up a fresh perspective on the immigrant experience and the broken promises of the American Dream, it’s a thrilling and insightful exploration of survival, ambition and frustration.

Clint Eastwood’s Academy Award winning masterpiece remains a landmark in the Western genre, offering a dark, reflective take on violence, redemption, and morality.

Set against the rugged backdrop of 1880s Wyoming, Unforgiven follows William Munny (Eastwood), a retired, reformed outlaw who is reluctantly drawn back into a perilous mission to track down and kill two men who disfigured a prostitute. Alongside him are his loyal old partner, Ned (Morgan Freeman) and a young gunslinger known as the Kid. As they venture deeper into the wild, the line between justice and revenge becomes increasingly blurred.

Eastwood delivers a powerful performance as Munny, portraying a vulnerable man torn between his violent past and his desire for redemption. However, it’s Gene Hackman who rightfully steals every scene as the morally complex and ruthless Sheriff Little Bill. An iconic figure of the American New Wave, celebrated for his performances in The French Connection, The Conversation and later famed for his role as Lex Luthor, Hackman earned his undeniable place among American cinema’s greatest actors. His recent passing at 95 marks the loss of a remarkable, generational talent, but also highlights the lasting impact of his extraordinary body of work.

A lone, wide-eyed cat journeys through a flood-ravaged world in Latvian filmmaker Gints Zilbalodis’ stunning animated odyssey.

Chased by a pack of dogs, our furry feline is soon swept away by rising waters and finds refuge on a drifting sailboat, already inhabited by a capybara. Along the journey, it encounters a golden retriever, a lemur and a flock of cranes, each with its own survival instincts. As they form an unlikely pack, the film subtly reflects on humanity’s environmental impact, evident in abandoned homes and a sunken city. The animals, though natural enemies, learn to cooperate and save one another, offering a pointed message about unity and the need for mutual support in times of crisis.

Painstakingly crafted over five-and-a-half years, Flow is a visual marvel, awash with breathtaking visuals, intricate design work and gorgeous animation. Immersive environments and authentic animal sounds underpin a beautiful, haunting score that conjures a timeless, fable-like quality that is such a precious luxury in the world of animation.

This year’s winner of the Academy Award for Best Animated Feature, it’s a wonderful reminder of what can be done with the medium.

Alex Parkinson's time-ticking thriller plunges into the high-risk world of saturation divers maintaining vital gas pipelines on the ocean floor.

A gripping adaptation of Parkinson’s 2019 documentary, the film follows three divers: Chris (Finn Cole), mentor Duncan (Woody Harrelson) and veteran Dave (Simu Liu). When a critical malfunction traps Chris underwater with less than 10 minutes of oxygen, the crew scrambles to rescue him, or face the grim reality of recovering his body.

Doc-style camerawork and video-link camera footage provide cuts between the the diving bell, the ship’s bridge and the coastline as the crew race against the oxygen countdown clock. Enhanced by superb cinematography, shifting between situational cameras and filmic ones, the claustrophobic, stormy settings and eerie ocean depths create a vortex of tension. Performances are understated yet powerful, with Harrelson and Liu driving the urgency, while Cole’s portrayal of Chris adds emotional weight. Nerve-rattling decisions, moments of heroism and offhanded humour all help us identify with normal people whose daily experiences are something we can barely imagine.

Riveting, seamless and at points genuinely shocking, Last Breath is a terrifyingly well-constructed adaptation of a nightmarish accident.

Margy Kinmonth’s feature documentary shines a light on the trailblazing role of women war artists on the front lines around the world.

This is the third instalment in Kinmonth’s trilogy of films about how artists depict war, following the acclaimed Eric Ravilious – Drawn To War and War Art with Eddie Redmayne.

This time, Kinmoth asks: when it's life or death, what do women see that men don’t? An entirely female cast of contributors and artists featured include Dame Rachel Whiteread, Zhanna Kadyrova, Maggi Hambling, Assil Diab, Dame Laura Knight, Marcelle Hanselaar, Cornelia Parker, Maya Lin, Shirin Neshat and Lee Miller. Their art, often created in the face of extreme violence, displacement, and genocide, serves not only as a powerful tool for witnessing the horrors of war but also as a means of provoking empathy and inspiring action on a global scale. Through their eyes, the film brings into focus the impact of war on women, especially the use of sexual violence as a weapon and the silencing of female voices in countries where journalism is restricted.

Demonstrating how culture breaks the taboo and crosses borders, this is a unique undertaking about the need to tell vital truths in turbulent times.

Fresh off the Conclave award circuit, Ralph Fiennes leads this stark, grounded take on Homer’s Odyssey.

Director Uberto Pasolini delivers a stripped-down adaptation, focusing on the story’s raw emotional core. Fiennes stars as Odysseus, returning home after 20 years of war, presumed dead and unrecognisable. His kingdom is in chaos, and his wife Penelope (Juliette Binoche) is under pressure to choose a new husband. Amid political turmoil, Odysseus must reconcile with his past before reclaiming his family and throne.

Fiennes and Binoche, a third reunion for the pair, anchor the film with two expert performances that are haunted by a sense of loss and resilience. Fiennes, playing a physically and mentally scarred Odysseus, captures the duality of a broken warrior who retains the cunning of his past. His portrayal is understated, deeply human and striking in its vulnerability. Binoche, regal and sharp, mirrors this complexity as Penelope. She is grieving yet determined, grappling with her personal and political struggles.

It’s a film that excels in its simplicity, forsaking the grandiose for an intimate meditation on the lasting scars of war.

Damián Szifron’s dark mind is on full display in a black-comedy masterclass quite unlike anything else over the past five years.

A satire of survival in a corrupt and cynical Argentina, each of the six short accounts on display here chronicle all walks of life; an enraged demolitions expert, a furious bride on her wedding day, a bout of in-flight paranoia. This is just a teaser of what to expect from a rabbit-hole of confusion and hilarity.

Frantic from the off, the pre-credits short sets the bench-mark so high that it takes almost an entire film to match it. The visuals are stunning, a real pleasure, and the bizarrely perfect soundtrack screams Spaghetti Western classic.

Ideally structured and often wickedly dark, Wild Tales, put simply, is an ingenious collection of nightmarish stories exploring the extremities of humans in distress. In Szifron’s mind, this world is going to hell. If everyone acted the way these characters behave, civilization certainly would crumble.

Barmy, brilliant and never banal, this twisted comedy is an absolute treat for the mind.