Beyond Fest — A–Z of films

The tension is never loosened, the action seldom rests and the dialogue sounds as sharp and convincing as the actors who speak it.

Protagonist Adam (Andrew Scott) lives in a neatly furnished home, no longer feels the need to hide his sexuality, and tells himself he’s fine, but the music says otherwise.

It’s solidly rooted in the ordinary and yet its habit of drawing out small absurdities means that ordinary things and places won’t seem so safe after you’ve seen it.

Hüller has always been an unfussy actress, who allows a character's flaws to shine out in interesting ways.

This is not an erotic movie, true there are copious scenes of copulation... but Brass doesn't linger on them long enough for them to become titillating, he has to show something gross and/or bloody in the same scene.

Certainly not a film for the masses.

Detail abounds. Glorious detail.

A fascinating portrait of a cinematic era which will leave those who remain martial arts fans with a lot of titles to hunt down.

The tension is masterfully handled in a revenge thriller narrative which also poses difficult ethical questions.

James Wong's debut feature mixes a little psychic spookiness into the teenage body count.

Though it might seem to be all over the place – structurally as well as thematically – there’s a tight control underlying Hostile Dimensions which pretty much holds it together and delivers a satisfying story.

The film works on almost every level, particularly its central relationship.

It’s a clever structure but one which could easily go awry. Neal handles it well, with the confidence to alter events very slightly so as to communicate the different perspectives of his principal characters.

Campbell is perfectly cast. She has sufficient physicality to make one believe that she could cope with this demanding job, yet there’s a nerviness about her whole body reminiscent of prey animals.

There are so many great stories surrounding Cliff that it’s clear director Jake West was spoilt for choice.

Cox's Hannibal is a masterclass in moderation.

The powerful forces of family and fable, old and new, intertwine and vie for supremacy in Belgian-Congolese director Baloji’s visually striking debut.

The battle scenes are nothing short of astonishing.

Raging Grace is a Gothic thriller with the potential to appeal to a wide audience. It’s also a fierce critique of the racism embedded in a culture which still treats it as normal for some perfectly capable people to be waited on by others, and to treat them as less than human in the process.

Bruce Lee is back, and he's Indonesian.

The feeling that something bad could happen at any moment permeates the mood.

It’s the sort of story rarely told in cinema today, and one which seems destined to attract a cult following.

It feels like a natural successor to Gordon’s work, and a film of which he would have been proud.

Another victim of the style over substance genre.

Coloured with rural folklore, this black and white take on the experience on 17th Century life is deeply English in its sensibilities.

By far the best instalment to date, with a stylistic consistency and a sharp wit which make it worth seeking out regardless of your feelings about the found footage genre as a whole.

The writer-director team of Mathieu Neart and Stéphan Castang shows a repeated willingness to take risks which really elevate the film.

The film carries us from a carefree existence made possible by not paying attention, to a crushing tragedy.

Truly a milestone in British cinema.