Brian Duffield’s horror/sci-fi hybrid No One Will Save You is bold, bonkers and genuinely scary, grounded by a terrific performance from Kaitlyn Dever.
Céline Rouzet’s For Night Will Come is a tense, atmospheric and emotionally raw journey through the horrors of growing up.
Richard Linklater’s Hit Man is hilarious, clever and genuinely a lot of fun, with a scene-stealing and star-making lead performance from Glen Powell.
With The Caine Mutiny Court-Martial, sadly his last film, William Friedkin delivers a court room drama that shows his confidence and skill as a director.
Bertrand Bonello’s The Beast explores the fear of an unknown future in three eras, but the intellectual ambition is thwarted by a central dynamic that’s pretty distasteful.
Bradley Cooper’s second directorial effort, Maestro, is a bold and stylish, if somewhat schmaltzy, portrait of the relationship and music that made up Leonard Berstein.
Zar Amir Ebrahimi and Guy Nattiv’s Tatami is a raw, poignant and empowering tale of two women who defy the threat of oppression and choose to be free.
Rebecca Antonaci shines in Saverio Costanzo’s Finalmente L’Alba, a film that might not be for everybody, but its quirkiness definitely comes with charm.
Nickolaj Arcel’s The Promised Land (Bastarden) is a poignant, if a bit bleak, tale of determination and struggle, with the lesson being that you can’t always do it alone.
Michael Mann’s Ferrari looks and sounds exquisite, but speed bumps come in the form of uneven performances and tonally off moments.