Leeds International Film Festival — A–Z of films

The voyeuristic experience of watching their unpleasant exhibitionism becomes a very alienating experience and as a result it is increasingly difficult to engage with, or indeed care about, any of the characters.

Breathtakingly visual and epic in its ambitions.

If this is a true representation of what Russian reform schools can achieve, it is remarkable.

Rather than heaping condemnation on everyone involved – as you might expect – Ramos just tells it like it is.

Juraj Lehotský's Blind Loves not only succeeds in describing the world as blind people really experience it but, in so doing, presents the sighted viewer with a fascinating insight into a different way of living.

In an industry becoming increasingly dominated by computerised effects, it’s heartening to see the practical work on display looks so good.

A sombre film that never shows more than it needs to, and never allows its more outrageous or shocking moments to descend into sadistic spectacle or farce.

Elevated by an outstanding central performance from Harry Treadaway.

Kim Ki-duk is using language to highlight the communicative gulf that exists between his dramatis personae.

Fassbinder's camerawork is nothing short of masterful.

What this film shows, by visiting communities around the world, is that issues of pollution are often intrinsically linked to issues of ownership.

Colin Firth gives possibly his best performance yet.

If you watch one western in your lifetime, make it The Good, The Bad And The Ugly.

Despite its lengthy duration, this film gallops along.

Jesus Christ Saviour is more a challenging and interesting curio for fans of Kinski and Herzog's collaborations than a movie in its own right.

Jim Finn’s awkwardly placed film is unsettling by its approach as well as its subject matter.

The filmmakers keep you wondering about the characters and their motives throughout.

A movie you won’t be able to shake off any time soon.

My patience with the central character expired long before the film eventually dragged itself towards the end of its running time.

A savage deconstruction of Thatcherite beliefs in family.

Plays a lot like a neutered Troma movie – it lacks what makes Troma films appealing, namely the razor-sharp satirical touches and garage rock filmmaking ethos.

If you're a fan of B-movies - of nudity, gore, monsters, car chases, kung fu action and ultra-low-budget fun - then Not Quite Hollywood is a treat you can't afford to miss.

Parting Shot becomes a fascinating meditative study for anyone that has ever felt themselves in the grip of uncontrollable passion.

Some sections of the film feel like a soapbox for her to stand on, to proselytize her personal politics; to bolster her image as a radical poet.

Very capable of raising of smile.

Clay doesn’t want for ideas but his symbolism is in grave danger of smothering the story

A film which makes you rethink your perceptions and encourages you to ponder deeper questions of humanity.

Standing Up makes Full Metal Jacket look like a fascist recruitment film.

It's hard to watch the dated hairdos and ugly early Eighties fashion and side with these kids.

Murnau’s ability as a storyteller is demonstrated to perfection in this, his last film.

The film is funny, heart rending, brutally honest and extremely well made.

This is clearly a labour of love.