Edinburgh International Film Festival — A–Z of films

Having delivered shock and awe in the first half on the film, Baichwal turns in the second half to projects that are small but growing fast, new approaches to old ways of doing things.

It's the people least likely to go and see this who stand to get the most out of it.

Despite the raw power of its performances, the film suffers from an impulse to spell out some of its points.

With formal narration which captures the style of the period and similarly distinctive dialogue, the film quickly immerses viewers in its small but volatile world.

Jóhann Jóhannsson has created something that successfully captures the spirit of the book whilst feeling like a memorial to humanity.

There's a gentle feel-good sweep to Grégory Magne's French dramedy, which though it is built of familiar elements, remains a very watchable blend.

As the sunny days pass and Bridget finds herself sinking into the job of caring for Frances more than she imagined, the warmth trickles into the corners of the film leaving cynicism no place to lurk.

There is strangeness here but of an intriguing rather than repellent sort.

White Riot is as brisk, to the point and direct as any punk song of the period.

A White, White Day mingles some very dark dramatic moments with the comedy of the absurd.

Their provision of few motivational details makes for an unsatisfactory narrative.