New Directors/New Films — A–Z of films

It's light tone and sprightly 80-minute length belie the depth of Veiroj's film, which is almost bursting at the seams with ideas about self-definition.

The art of Behemoth lies in the way it winds the viewer up in its quintessential narrative.

The people encountered while working as a cinematographer for different documentarians, shooting all over the globe, are woven into a fascinating, irregular net of meaning.

This is a film of two halves, the first - and best - has the cold creeping dread of icy sea water slowly soaking into your swimming costume.

The physicality and fluidity of adolesence are brought to the fore by Anna Rose Holmer in her tightly directed debut feature that avoids the bear traps of American coming-of-age cliche to offer a classy, thoughtful character study.

Quiet and unassuming yet making some devastating points, Hamaguchi's film is shot with deceptive simplicity.

Like a Brazilian Angela Carter, writer/director Anita Rocha da Silveira tells the story of a young woman emerging from a sheltered suburban world to walk a dark path, discovering the wild creature inside herself.

A breathtaking piece of work.

Lost And Beautiful is filmed on expired 16mm film stock, in keeping with its themes, and the result is a delicate, watery palette which gives it a unique beauty.

It is when Neither Heaven Nor Earth ventures into the unexplainable that it brings us closest to the concrete battlefield.

Mascaro is completely in control of his material.

The sleeping and waking worlds begin to tumble together, with cinematographer Kit Fraser using his camera to add to the unsettling atmosphere, spinning the image at key moments or rocking it to ratchet tension.

He seemingly lets the camera into almost every nook and cranny, so that a picture emerges of not only him but the media goldfish bowl people like him inhabit.