Cambridge Film Festival — A–Z of films

Otero, who is in almost every scene, carries the film with her fresh and naturalistic performance, which is perfectly complemented by Solaguren’s impressionistic style.

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.

The vibrancy of childhood skips from the screen.

Trauma here isn’t a switch turned on by a force strong enough to propel it into being, but instead, it’s a slow-burning reflective state.

There are so many shots through things, boundaries, borders, thresholds, that we are primed for other barriers crossed. Those transgressions are not light ones, but in them is an abject honesty.

Hamaguchi isn’t scared to completely change the rhythm of his film on a dime, something that is likely to frustrate as many people as it delights.

An amuse-bouche of a film, Aki Kaurismäki’s latest comedy romance may leave you wanting more but it’s also a fully rounded, good looking experience packed with all the flavours we’ve come to expect from the master of deadpan down the years.

Although the issues of trauma and recovery being dealt with here are not exactly easy watching, Onashile shoots the film with a fluidity and grace.

Hoard goes further, creeps around, becomes something you can start to smell, to taste.

An important contribution to the record, Home Ground succeeds – like Myong – in doing a lot with the material available to it.

A fresh spin on territory that has been frequently explored.

The garments are liberating, positioning the wearer as subject, not object of a gaze that evaluates the body.

A beautifully constructed piece of work in which every detail serves the whole, putting the tools of the epic at the disposal of a story which is intimate and delicately realised.

Confident enough in its characters to tell its story without sensationalism or stylistic overcompensation.

A film which flatters to deceive, teasing the viewer with a fluttering of aesthetically-pleasing eyelids before dashing off in pursuit of another suitor.

Lanthimos skillfully transforms this lustful carnival into a coming-of-age drama, emphasising the protagonist's mastery of sexuality as a connotation of her mental evolution.

The dance sequences are brilliantly performed and well worth watching the film for in their own right.

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

The film’s undoubtedly a dream ride for any boy racer.

An instant classic and far too good for children.

Six-year-olds will love it. Twelve-year-olds will scorn.

At last, a children's film that is fun!

The passage of time - and a beautiful 4k restoration - have been kind to this reimagining of Jacques Offenbach's opera, with its deliberately operatic gestures and colours and stylised production design feeling sharply avant garde even today.

While the end result is important, Hùng’s film is all about savouring the moment, something that becomes more urgent as it progresses - although talk of speed has little place in a film that unfolds with the pace and beauty of a flower.

Much more of a natural crowd-pleaser than her previous works, this might be Morley’s most successful film to date.

A unique cinematic experience.