From the very first frame, Danny Boyle’s Ink is a kinetic, punk-inflected portrait of Fleet Street at a turning point in British journalism. You are thrown immediately into the action. There is no gentle introduction, no leisurely establishing shot to ease you into the world.

For all its intrigue, Bunker spends so long teasing the possibility of something interesting that, by the time the credits roll, you begin to wonder whether the film has forgotten what it was promising in the first place.

With a star-studded cast and flashes of inspired filmmaking, Paper Tiger is a crime drama that finds its claws in unexpected places, even if some of its story struggles to leave a lasting mark.

I am not an emotional film watcher. There have been films that have moved me, certainly, but it is incredibly rare that a film brings me to the state of emotion I felt during La Bola Negra. By the end, I felt completely consumed by it by the speed with which I had devoured every aspect of this project, and by the strange, aching feeling it left behind.

There is something rather wonderful about watching a film that has clearly been made with love. Not simply love for its characters or its story, but love for the act of making cinema itself. Iron Boy, Louis Clichy's animated coming-of-age drama, exemplifies this passion for process.

With a mesmerising central performance, a wonderfully assured pace and all the hallmarks of an A24 production, Primetime was my most anticipated film at this year’s film festival. 

Thankfully, it did not disappoint.

Ryusuke Hamaguchi’s All of a Sudden is the kind of film that seems determined to turn every conversation into a question about the nature of existence. It is over three hours long, and yes, you feel every minute of it. But this is not simply because it is slow.

Artificial is a deeply political, unsettling examination of Silicon Valley’s most powerful men, with Andrew Garfield disappearing into a performance that could put him firmly in the Oscar conversation. 

Godzilla Minus Zero understands the pleasure of spectacle. What makes Takashi Yamazaki’s latest instalment so effective is not simply the size of its monsters or the devastation they leave behind. It is the attention paid to the bodies beneath the destruction.