Edinburgh International Film Festival — A–Z of films

In the opening sequence we're shown a relief carving of a xenomorph. Such a thing could be used as a mould, but the film is so intent on replication that it doesn't break it, or free.

Less concerned with scrutinising the playground than the dangerous games adults can play with one another.

Filled with awkwardness and tension, the film acts as a spotlight for all the actors.

Visually, Guan never puts a frame wrong, whether he’s setting up a physical comedy set-piece, idly incorporating a solar eclipse or letting the dogs steal a scene.

If it wasn’t for the excellent, immersive sound design from Chu-Li Shewring, you could easily believe you were watching a piece of silent movie found footage.

Although the emotions in this story are raw, she approaches them with sensitivity and a strong respect for people who are trying hard even if they don’t always succeed.

While many other films feel as though they are really staking out a deliberate political stance against the Iranian regime or coming at it from deep within metaphor, My Favourite Cake is casually, but almost constantly, rebellious in small ways.

A heartfelt film.

It is a rare thing to come across a tale as carefully constructed as this one.

Distances of time and space are collapsible in Fingscheidt’s hands.

Again and again there are elements that will be echoed in later works, mirrors and masks and little friends, split screens and thrills and untimely ends.

What comes across, despite the hurdles, is the immense camaraderie and collectivism that has strengthened down the years.

Using a mix of both professional and amateur actors the film reveals the intimate details and attitudes of these incarcerated individuals

Starchenko is extraordinary in her ability to develop an emotionally complex character despite the state of shock that covers everything.

Brutal, bloody and enriched with a specific dark humour.

A fascinating portrait of a woman ahead of her time.

Those who doubt the artistic potential of the horror genre should be nailed down and made to watch this.

Lowe’s approach is an exhiliarating, if sometimes a bit scrappy, mix of high and low brow.

Mostly shot at close quarters, inside the Woodsman’s cabin or car or amid the trees, the film is heavy with shadows and mist and chill air.

Inspires a feeling of awe.