Zoe Margolis

Nomadland, with its beautiful simplicity, and wonderful performances, manages to be an elegant, profoundly moving film which shows the real value of living, rather than just surviving.

With believability being pushed too far, and the film’s direction needing a tighter pace, even the surreal visual effects and trippy weirdness aren’t quite enough to make it work.

Throughout Long Day’s Journey into Night, there is reference to a spell which makes a house spin, and in many ways, the technical accomplishment (cinematographer David Chizallet) of the second half puts the viewer under a spell of joy: this smooth-flowing dreaminess combined with the mystery of the first half makes for a sensuous, visually stunning, eerie tale, and it is compelling viewing.

With quite a simple plot, it’s not a particularly challenging or unpredictable storyline, but it’s elevated by great performances, refreshingly dry humour, bold cinematography by Stefan Duscio, and a vibrant original score by François Tétaz.

It’s refreshing to see a character with Down Syndrome treated with depth and intelligence, in control of their own story and not being patronised. Gottsagen is truly a shining light, bringing a strong, wonderfully rich performance -and brilliant comic timing- as Zak to the film.

A hugely accomplished debut, and an innovative approach to filmmaking, Cummings will be one to watch for sure.

Even with admirable acting, and such a crowd-pleasing, inspirational story, Green Book essentially feels like civil-rights lip-service for a white audience, and given the background to the script, it’s a disappointing portrayal of historical systemic racism, whilst ignoring its continuation in modern-day America.

By showing that self-worth and acceptance of one’s faults are to be valued, DuVernay has shown how empowerment can come from changing your own outlook, and perhaps adults as well as kids will be able to take something positive from this movie.

Tinge Krishnan’s Been So Long is a musical delight of heart-warming songs, sardonic British humour, and fantastic performances.

Close’s performance here surely must finally provide her with the Oscar she has deserved for so many years; the suppressed resentment which slowly builds up on her face steadily throughout the film is a masterclass in screen acting.