Mostra De Valencia — A–Z of films

The script is sharp, witty and not afraid to ask awkward questions.

Recalling the bone-dry wit of the likes of Pablo Larrain mixed with a dash of the absurdity of Samuel Beckett, this is as much a waiting game as an action plan.

This domestic drama set in Lebanon also has elements of black humour, which is unique in comparison to other Lebanese films.

Despite its reliance on the crutch of cliche in terms of plotting there is much to admire here stylistically.

The film answers every why, fitting the pieces of the puzzle together with infinite subtlety.

Ochipinti's film benefits from a strong documentary underpinning - with the lead actress saying that 70 per cent of what occurs is based on her own story at the film's Berlin screening - showing how strong cultural expectations like this can be.

Arebi's patiently observational film is full of small moments that encapsulate horrific prejudice or warm, resilient humour.

Ozpetek is a sensitive director. He takes his time. He doesn't rush.

<ore than any other of Pasolini's films, it feels personal.

Most effective is the film's playing with the concept of character motivation, highlighting the studied intellectual complexity prevalent in theatrical fiction in contrast to the often crude driving forces present in reality.

Ly wanted the people who have lived in these schemes to have the chance to tell their own stories, which gives Les Misérables an unerring sense of authenticity.

Seductive direction embarks on an ill-advised tryst with silly plotting in Ferzan Oztepek's Naples-set psycho-thriller

Everything Hannibal failed to be.

Elena is not initially an easy character to like, but her courage and ingenuity is handling the crisis she finds herself in gradually wins viewers over.

The “so what” factor doesn’t go away, because it is difficult to care about these people.

Religious and family tensions are explored with care and sensitivity.

In less sensitive hands than Kore-eda's, it could have come across as cloyingly introverted but instead there is wit and warmth in the observed relationship between the two women.

Sex itself is mostly not shown, as its the initial connection with Lila and the emotional aftermath that counts.

Western documentary regulars may feel as though they are in familiar territory at the start of the film, which begins by focusing on Syria - but soon the violence considered will come a lot closer to home.