The Observer (UK)

Soderbergh’s film is rich with such small but perfectly judged flourishes, and it is this depth of character development, together with the crackling chemistry between McKellen and his co-star Michaela Coel, that makes this odd-couple art world tale so charmingly raffish.

While it is not quite in the same league as any of the films that clearly influenced it, The Sheep Detectives is an appealingly offbeat children’s film, showcasing Balda’s knack for visual humour while also sheep-dipping into unexpectedly weighty themes.

It’s a rich depiction of a traditional Yörük community – Turkic tribal people – that feels authentically lived in rather than an ethnographic curio, as well as a fresh coming-of-age film.

This is an underdog tale straining so hard to be endearing that it’s more likely to pull a muscle than tug a heartstring.

DaCosta’s film is a macabre morality tale about the best and worst of human nature. It is utterly brutal, and one of the most compelling so far.

While the film is largely content to tread a safe path, it does at least feel full-hearted in its appreciation of the way music can connect lost souls and enrich lives.

Even by the standards of a Yorgos Lanthimos film, Bugonia is an unhinged and savage piece of storytelling.

While Wicked: For Good repeats much of the same formula as the first picture, there is a crucial ingredient missing: humour. Without it, the spark is extinguished; the astringency that cut through the sentimentality of the first picture is gone.

This lean, intimate drama is a Paul Andrew Williams film, and anyone who saw his brutal revenge picture, Bull, will have an inkling of how dark his movies can get. Even so, the blunt force of Dragonfly’s tonal swerve is enough to knock the air out of you.

Architecton is a gorgeously photographed poetic reverie on the subject of stone and concrete, permanence and profligate waste.