Seville Film Festival — A–Z of films

Trobisch lets the normality bite.

Aleksey Fedorchenko isn't the first to try to come at the horrors of the Holocaust from a fresh perspective - although the narrow outlook he adopts here also ends up limiting how much he is able to say.

Pestana is brave, both unafraid of filming moments of intimacy when others might have set the camera aside - and of then presenting those moments to us in retrospect.

The feeling of exposure to evil never fades

An original and highly ambitious premise that maintains its grip your attention and imagination.

Szöcs has good ideas for the look and framing of the film but a feel for the characters is missing.

The film carries a message about the importance of tolerance, love and a healthy dose of silliness in the face of the darker elements of modern life.

Each successive scene hits you over the head with the ferocity of the action.

A melancholy contribution to an important cinematic reckoning.

The real and the absurd walk arm in arm here.

Directed with admirable understatement and restraint.

A mixed bag, as while Everett the actor masterfully evokes the mournful mix of decadence and decay of the last years of Wilde, Everett the filmmaker is, like so many before him, too much in love with the brilliant old rogue for his own good.

Moreno's travels give us a sense of the enormity of what lies beneath, unhurried but curious in his progress, even homing in to look at the microscopic monsters we might not realise also make these caverns their home.

Dillon makes a fair fist of the role of Jack.

Infinite Football is a film about outsiders and feeling on the fringe of society

Patrick Orth's cinematography gives this a beguiling warmth but it's really Löw's performance that makes it work.

Hill, who is only a couple of years older than her 15-year-old character, has a fierce screen presence, adeptly balancing Sarah's ballsiness and vulnerability.

If you're interested in the technical details of the sport or the process of filmmaking, you may find Julien Faraut's unapologetically artsy film fascinating.

The main object of Llorca's ire is not his characters - it's clear he has a soft spot for them, as soon will we - but the rather the vacuous nature of parts of the Spanish art scene.

Flynn is convincing and sympathetic in the lead.

The blurring of fictionalisation is just one of the layers that encourages contemplation almost deep enough to justify the film's expansive canvas.

In Assayas's smashingly sad comedy of manners, shoes drop left and right.

A stunning feature début for Marcus Rutherford.

Though it's a difficult line to draw it never felt twee, just winsome, mostly wholesome.

There is a fragility and brittleness to this but also an underlying warm sweetness that might just melt your heart.

Often highly amusing and thought provoking... always gorgeous to look at.

Yannis Drakopoulos is on fine form in the central role and there are some great supporting performances.

Mansky's bigger picture about the manipulation of a nation is crystal clear.

Billingham's consideration calls for empathy rather than condemnation.

By the end, you pray for death - his or your own, whichever would end the boredom faster.

Andersson's film offers a dystopian vision of the new millennium, where misery, pain, guilt and despair are the universal condition, where escape is impossible, and where, no matter how much anyone tries to turn their back on the past, somehow it always r

The film cuts every so often to one of the few monuments honouring the victims of Franco’s regime; faceless statues pierced with bullet holes on a deserted mountain side. The Silence Of Others puts real faces to these figures.

Before making the film, Truffaut spent considerable time with Hitchcock, who's style of filming and fascination with nature's dark side is echoed here.

Honoré handles the strands with considerable agility and admirable lack of cliché or sentimentality employing camerawork that is clean and uncluttered.

There's a strong sense of isolation from the start in Fisher's film.

Sunset while resisting the digital, flings us into a dreamworld where nostalgia for the past is twin to premonition of our future.

It is as sweet and tender, not to mention as well-observed, a portrayal of young love as you are likely to find the other side of a John Hughes movie.

Ramsey is likely to emerge as one of the standout talents of her generation.

The tone is deliberately odd blending the naturalism of the day-to-day emotions of relationships and grief, with the altogether more heightened tensions of a revenge thriller, while still keeping a cheeky eye on the absurdity of a mooning garden gnome.

While content is important, it is context that is king in a documentary, and this film could do with a lot more of it to orient viewers, especially those who don't have a full working knowledge of the American South.

This is joyful, beautiful, up-lifting - and bleak too, a clarion call to direct climate action at the personal and the political levels.

If Andersson is good at using the visual to create links, then he accompanies this with a strong aural sense.