Sundance Film Festival — A–Z of films

This was clearly a family affair for Delpy and a labour of love, but this film inevitably is taking a risk reheating the five-year-old meal that was 2 Days in Paris.

This is a deeply personal account of life in Palestine, and also one which sends out a strong political message.

Though it doesn't really go anywhere new, this film provides a solid document of a series of interesting lives, and succeeds in showing that being good looking doesn't equal being stupid or having nothing to say.

Weiwei is such a fascinating subject that even a documentary that never seems to stray into the experimental is compelling, but white text on a black screen does not a revolution make.

Subversive and incendiary.

Richard Gere is getting better with age. The lived-in look suits him and he holds this film tight.

Headland revels in the comedy of discomfort and keeps the one-liners coming, while still sticking to - and sticking it to - a romance plotline.

There's poetry, tough love and, above all, a fierce stoicism on the bayou in Benh Zeitlin's strikingly beautiful and haunting debut.

This is a challenging and rewarding piece that reflects your own thoughts as much as those of the filmmaker.

The talking heads from the media world - PR execs, former journalists, other filmmakers - provide some of the more troubling yet fascinating insights in the documentary as to how modern corporate entities can react when they come under the spotlight.

It is violent and visceral, of course, but also a metaphor for the irreversibility of time.

Lewy avoids the trite path to redemption, choosing instead to keep this a study of man in midlife crisis, understated and realistic.

The arguments are persuasive, and Balog is a charismatic presence at all times.

The bottom falls out of sanity in a way that, despite being based on real events, feels deeply unsatisfactory.

The two central performances – Vianello’s bewildered, sensitive, lonely young girl and Cantalupo’s harassed moral inadequate – are pitch-perfect.

The writing is so sharp and rapid-fire, and the performances so charmingly self-lacerating, that you will be happy to spend time in these characters' company.

Rory Kennedy's revealing and thoughtful documentary on her mother, Ethel, is a declaration of love, rarely seen on film.

It's wrong, but it's fun, and at times touches on some heavier issues such as alienation and the suburban experience.

As Majo, Gina Rodriguez's zest, combined with some genuinely catchy tunes performed by Rodriguez herself, helps paper over the cracks.

Despite being occasionally misjudged, Travis' film maintains its sparkle and warmth thanks to its outstanding leads and sparky script.

It took me a while to warm to this film...But as Yong Kim explores her characters a more nuanced, rewarding movie emerges.

Filmmakers Jacobson and Silverbush keep it fast and straightforward.

Grabbers is a thoroughly charming and welcome blend of terror and blarney.

Jarecki, as always, does a good job of presenting a huge amount of information in bite-size chunks.

This is not just a piece of history, it's a how-to guide with lasting relevance.

A film and a story where you can't afford to be out of the conversation.

That the Pentagon has, since the making of this documentary, revamped its rules to try to improve things - in particular, offering immediate transfers for those who allege abuse - is testimony to the power of Dick's work

It may sound like a spurious stream-of-consciousness from someone who’s taken too many drugs in their life, but it’s not.

A gently paced but unsparing and unglamorous portrait of a gay relationship where love doesn't and perhaps never could conquer all.

Kid-Thing is all about kid-think, with David Zellner keeping his main character's child perspective front and centre at all times.

Although the cast all appear to be having a whale of a time, it doesn't quite translate to the amount of laughs it ought to.

Josh Radnor is adept at creating flawed characters who nevertheless prove sweetly likeable.

Succeeds on an emotional level even if it fails to deliver anything very surprising in terms of plot.

Matthew Akers’ all-seeing documentary cleverly mimics the form of the museum’s retrospective by saving the most revealing facts about Abramovic until professional and personal context is established.

Everything that is wrong with the contemporary US indie movie is here.

Superior stuff, highly recommended.

El Hosaini is wise to inject visual majesty into her otherwise gritty tale.

Like Saili himself, this proves to be a thoughtful little gem.

A small, quiet, very personal piece that delivers a deeply layered and well acted tale.

A real slam dunk.

McCarthy has crafted a dependable chiller that doesn't break any new ground but does get under your skin if you'll forgive its faults.

While the film is strong in parts... it suffers from trying to cover so much ground.

There are complex machinations at work here - but there's always a sense of the surface being skimmed in favour of telling Drokova's story.

While in some ways the collapsing of the Siegels' wealth may seem like commeuppance for their excessiveness, Greenfield has painted such a human portrait that Jackie, in particular, remains sympathetic, even when she is adding to her own tragedy.

Bruce Lee is back, and he's Indonesian.

Suffers from excess in almost every department.

Jake Schreier and scriptwriter Christopher Ford go well beyond the initial fun of the robot conceit to craft a thoughtful film musing on both the ageing process and our relationship with technology.

Some fans have become, as one admits, literally lost in the maze of the Overlook Hotel.

There’s no reassurance to be found in this cold world but Campos’s talent for getting mood whistling abominably through your ears is worthy of admiration.

Managing to be funny, insightful and heartfelt at the same time without slipping into melodrama or cheesiness, Sleepwalk With Me also benefits from an extremely relatable and understated performance from Birbiglia.

Part of SNG’s festival success is down to the sweetness that lies beneath each of the characters.

A delightful experience for musos and the uninitiated alike, Searching For Sugar Man deserves to reach as wide an audience as its underdog hero eventually did himself.

It takes messy and unresolved dynamics and finds their poetry. Can’t say sexier than that.

Marsh takes no prisoners, makes no apologies and kicks you when you're down, all of which makes his films dangerous, inifinitely watchable and almost unbearably surprising.

Funny, moving and endlessly surprising.

Supported by only the most rudimentary of plot structures that is crumbling from the outset and a Funny or Die backbone of comic acting talent who really should have stayed on higher ground.

The movie hits some nasty sweet spots but also falls foul of numerous genre cliches, both old and new.

Here, the old Chilean songs fulfill their original purpose, as storytelling elements, but now they bear the weight of a new history.

No fictionalised crime drama ever felt as thrilling.

Labaki manages to get across a view of life that is not predominant in cinematic stories, without making it seem like an agenda.

When the dam finally breaks it does so with a rush that still doesn't manage to overwhelm the sense of disappointment at its 'is that all?' reveal.

Andrea Arnold has done well to shift the emphasis from a love story to a dark tale of hatred, cruelty and revenge.

What you get out of Your Sister's Sister is likely to depend quite a bit on the audience you see it with.