Sheffield DocFest — A–Z of films

Shot mainly at night, the darkness deepens the film's oppressive quality, while the constant presence of rubbish only adds to the sense of everyone sitting in a miasma of despair.

This is a bald recording of the lives being lived and the stoicism needed to keep going even in these most grim of circumstances.

A conversation about whether if you're hungry "you'll eat anything" hangs in the air as something for us all to chew on.

The revelations may not be earth shattering on either side of the camera, but they are honest are delivered with the intimacy of a secret.

Amador shoots in an unhurried style, that requires a bit of patience from the viewer but is perfectly suited to the way of life.

In an overlap of documentary convention and semi-scripted faux-realism that offers a playful, frivolous edge to proceedings, even if the aim of its hybrid make-up isn’t always obvious, we have a defiant rejoinder to narrative and crime-led docs

While there's no doubting the director's commitment and connection to what is happening here, it's more difficult to engage with it as an outside audience.

Cinematographer Ebrahim Moradi (who also edited the film with Parvazeh) captures the great and small of this community, showing a painterly and patient eye for faces.

An emotionally intelligent film that captures the contours of a life transplanted.

The director digs into the psychogeography of the city with verve.

For a short time, this cinematic jewel lets us travel back to when the migration of birds was a mystery to man.

There are huge struggles going on here, with far reaching relevance, yet everything is conducted in a very quiet, polite, downbeat way.

My Wonderful Wanda picks just the right moments to introduce real emotion into the mix.

Stops you in your tracks and makes you look at things you thought you knew about through fresh eyes.

The documentarian finds a rhythm along with a gradually building theme concerning travellers and migres in these liminal spaces.

One of the interviewees talks about the "stomach" of the factory needing to be filled - a strong image that highlights the "monster" problem that the community faces.

This is a well-constructed film, featuring not just strong talking head material, from experts and those bearing the impact of the industry across the globe, but also smart animations that crystallise the issues.

The relationship between what is viewed and the viewer really come to the fore along with some troubling considerations of the way that fiction film and reality television may have an impact on the way people filter factual footage.

Holmes' direction is as fluid as Doherty's movement, as her cinematographer Luca Truffarelli engages his camera in its own dance with Doherty, also capturing the reactions of those watching her at work.

By pushing us into the day-to-day stress of the organisation, France gives a palpable sense of the desperation many of those fleeing feel.