Emily Maskell

The director has described his film as a poem, but its rhythms feel more abstract, like recalling the best concert of your life in a dream. Brilliantly forgoing nostalgia to frame Elvis in the present, Luhrmann offers the closest experience of a live Elvis show that we may ever see. And like the Vegas residency, EPiC deserves a standing ovation when Luhrmann’s curtain falls.

Throughout, Dragonfly plays with perspective, fascinated by the potential of others and what people are capable of. However, the film’s final note is deeply cynical, as if it is embarrassed by the sincerity of its genuine and vital message.

Delightfully, Islands doesn’t patronise viewers. The film refuses to confirm or deny suspicions. It’s an exhilarating feast from co-writers Gerster, Blaž Kutin and Lawrie Doran who pen this winding tale with sharp subtlety.

Hudson’s film makes room to acknowl­edge that this is a fam­i­ly affair. Mol­ly is at the epi­cen­tre, but the rever­ber­a­tions impact every­one around her.

Magic Farm may not be a blanket crowd pleaser, but Ulman’s smart writing lands in a deeply optimistic place about the pure magic of human connection.

Gilford’s tale of chosen family awash with bright blues and reds maintains a bold sense of hopefulness at a time when America’s LGBTQ+ population is bracing for the worst.

Tereszkiewicz and Marder delight as a double act, but it’s Huppert who steals the show with a cunning smile.

The heartache of wasted time and missed love is a familiar arena in queer drama and while Lie With Me rets on classic tropes, it still makes for a moving reflection on adolescent love.

Blurring the line between reality and fiction, Aussel hones in on what it is to lose someone as an adolescent in sequences that are stripped back conceptually but pack an emotional punch.

Paying homage to a true hometown pioneer, Stephens’ portrait of a gentleman who knows how to be nothing but entirely himself is a compassionate and colourful character study.