Edinburgh International Film Festival — A–Z of films

This is acclaimed theatrical director Fall’s cinematic feature debut, and she proves adept at both evoking the warmth of her characters and capturing memorable images.

It's not a map, it's a blueprint, a means of telling fortunes and a handsome puzzle to boot.

It’s Drucker’s mesmerising performance that papers over the cracks.

Touching, compelling and full of humanity.

It is faint praise to say that it's pleasant enough, but faint praise is what I can muster.

What is interesting here is that Olivia is never objectified.

The idea of her as a lone voice is emphasised by striking cinematography, often of her riding her bike across the landscape, which has the wide-open quality of a western.

The expressionist feeling of early 20th century cinema is further enhanced by the specific colour scheme, resembling a very early version of Technicolor, while the sound recalls that of the early sound films.

Flawed and tired without being completely unwatchable.

The performances of double Oscar-nominated Blethyn and Riseborough provide hypnotic accounts of their characters as two vulnerable souls on the edge.

Sir Sean's blend of masculine charm and cold professionalism make him the perfect 007.

In only his sophomore effort as James Bond, Sean Connery shows he has already mastered the role.

The humour is fast, the car chases hairy, the characters way wicked, the venues seedy, the fun accident prone, the sex tantric and the chance of living until tomorrow slim.

Constantine Costi's film is charming, allowing its subjects to speak for themselves and directly to camera.

Superior slap-bang entertainment, joyously performed and directed with aplomb, with equal measures of silliness, joy and suspense.

Islamoglu has to play a complex character in a unique position, which she does in a fierce, naturalistic manner

The actors...own their characters with considerable skill which helps to paper over any deficiencies in the script

While the film's ambition should be saluted it falls short in ways that frustrate.

Along with Vladimir Gojun’s progressively rhythmic editing and Julij Zornik’s subjective sound design, the filmmaker takes us right into the protagonist’s, and therefore any and every teenager’s head.

Filmed with a dark sense of brooding.

This may be a two-hander but the constantly inventive framing from Kahani ensures that conversations never feel dull and his employment of light is impressive.

This is a solid piece of craft, simple in its intent and payoff but as with furniture the cleaner the lines the more work that's hidden.

Maberly herself is unforgettable in a gem of a role.

Finds its strength in the subtlety of the writing and the power of the understated performances.

The film doesn’t answer every common question that people have in this situation, but it does provide some context.

It’s refreshing to encounter a multiverse film that doesn’t mess about.

The film makes no compromises to its audience.

The first half an hour of this rattles along with plenty of good humour, injected with further energy by the Big Country soundtrack, which is as dyed in the wool Scottish as a fine Highland kilt.

It's an undoubtedly stop-start affair, but there's enough to keep you going.

Even in the cheapest of zombie films, human bodies have never come apart so easily, nor contained such an abundance of blood. It explodes across the screen at frequent intervals, each one more spectacular than the last.

The discussion of map-making is part of learning how to navigate the condition, to forge new paths while exploring what amounts to a new self.

The film that saw the super-spy become larger-than-life.

A surprisingly droll deconstruction of crime reconstruction.