Lee Marshall

Alternately downbeat and hopeful, celebratory and valedictory, it’s shot through with the dirty romance of the city that doesn’t sleep – but ends with footage of a parcel-sorting robot at a UPS hub.

There’s a nugget of an idea buried in here about how tempting it is to blame the gods, the evil eye, or a raincoated stranger for woes that are self-inflicted. But it’s buried so deep that, like that deal-making devil, it may not even exist.

It’s anchored by Alba Rohrwacher’s magnetic central performance as an under-pressure HR executive, and balances screw-tightening drama with a rich vein of comedy.

A mostly charming romantic melodrama that, at times, plays like a TV soap with much better production values.

It conveys its explosive message in a deeply and stylishly cinematic way. Interviews, conducted under the cover of night, take on a ritual, confessional quality. They are edited and arranged to create a series of chapters that ramp up the shock incrementally but also create a series of internal echoes.

Watching Everyone Loves Bill Evans is a little like being in a darkroom and seeing the image of a creative artist gradually emerge.

Like so many biopics, The Girl with the Leica has the unintended effect of stoking our appetite for a decent documentary, one that gives us the straight-up story of this pioneering woman without the airs and graces.

It is perhaps Guglielmino’s lovely, artfully artless performance as Arabella that will do most to mollify those who are uncertain whether to be charmed or annoyed.

The Wave is nothing if not ambitious, and in its bittersweet ending it reaches a melancholic, nuanced understanding that once the feminist wave broke, the backlash began. But the kind of complex debates about consent, vigilante justice and empowerment that are deployed here sit uneasily in what is in some ways a classical female self-realisation musical.

Ben’Imana is a film that works by accretion, layering its stories, characters and themes like the colourful textiles seen in robes, scarves, curtains, bedcovers, school uniforms, or, in one devastating scene, the torn clothes of massacred children, unearthed in a garden.