Leeds International Film Festival — A–Z of films

Chaotic, funny, beautifully shot and performed with a childlike deadpan.

Mullan, as usual, blends his trademark emotional rawness and understatement of gesture to powerful effect.

By gaining such intimate access to Joya, Mulvad has ample opportunity to show the person behind the politics.

The water rippling around the village mirrors the ebb and flow of relationships within Salif Traoré’s film.

Cobain’s story is perfectly juxtaposed with some spectacular photography. 

A Man's Job uses its simple story to probe a number of prevalent but subdued contemporary issues.

Motodrom has no pretensions other than to demonstrate the skill and daring of the Wall of Death riders.

Against the whisper of wind and buzz of flies, the Coens manage to find tension in the subtlest of movements and cut the dialogue through with humour as arid as the landscape.

Sanchez and Bayona never lose sight of the requirements of the genre, providing plenty in the way of seat-gripping tension and finding suitable shocks in the everyday.

Glorious, a hilariously stupid zombie fest that spoofs and honours grindhouse so much better than the tenuously related Death Proof.

An emotional, thrilling, disturbing and beautiful film.

A deceptively polished work.

Beneath the cover of portraying the generalised horrors of war, the film is more subtly critical of America's conduct in both the Vietnam War and the current conflict in Iraq.

When it comes to Japanese slo-mo sensuality, there is nothing you can do but admire the photography, because arousal has been dulled to death long before.

This is clever writing, smart filmmaking and excellent acting. It grasps your nerve endings and gives them a twist.

Silent Light is a powerful, technically excellent piece of cinema.

Full of gleeful anachronisms... brilliant.

Tekkonkinkreet is beautiful, and ably uses its visual appeal in service of an exciting fable.

Lichtenstein takes the myth of vagina dentata and gives it a kitsch horror/comedy makeover, to surprisingly smart and sassy effect.

Marcondes' artistic mix of puppetry, traditional and computer-generated animation is a feast for the eyes.

This might be familiar fare, but Fumihiko Sori and his team pull it off with sufficient visual aplomb to keep things highly entertaining.

Shankland dispenses with subplots almost as quickly as bodies, but his debut rattles along at a nice, taut pace.