Ella Kemp

Woman Of The Hour isn’t the serial-killer thriller you’d expect, but more noble for it. Kendrick shows promise as a director, her lacklustre male antagonist hammering home this film’s purpose.

Page shines bright in an otherwise formulaic story, but this is still a thoughtful, sensitive portrait of a young man coming to terms with his sense of self and the love he deserves.

A compelling if formulaic star-crossed lovers’ narrative. Come for a wordless seduction, stay for the complexities of parenthood, drag queens and family loyalties that deserve more of your time.

Deceptively courageous and perceptive on parasocial celebrity culture — and on the fallacy that women have expiration dates — The Idea Of You has good, clean fun with two characters it’s impossible not to love.

These teens may be a bit messy (who isn’t?) but it’s a joy to have Diablo Cody back to telegraph a new kind of adolescent horror, with a smile full of teeth.

Moving and convincing as a case for romantic anxiety being the most isolating thing in the world. Fingernails is funny until it’s not: deeply romantic from the top of your head to the end of your fingernails.

An emotional, if familiar, take on loyalty and technology in a world where love and survival feel near-impossible. Reid’s writing shines and there’s nobody better than Mescal and Ronan to broadcast heartbreak.

A towering achievement for a first film, Scrapper refuses to be pigeonholed as another dreary story about working-class life. Grief has hope, youth holds the keys to everything.

It’s the kind of culturally specific filmmaking that somehow immediately gains universality in that ambition to connect, to understand the empathy and sensitivity to listen in to these conflicts and this bright spark of a boy who speaks to struggles of faith however you were raised.

The film isn’t inconclusive but its time and continent-sweeping structure is anything but conventional: and that’s what makes the mercurial Return to Seoul, in the end, so remarkable.