Search: Starring Juliette Binoche

Alice Et Martin has all the ingredients of a wallow.

Binoche gives her all, stripping away any vestiges of actressy pretence to assimilate herself in the community while at the same time investing her performance with an authentic conviction.

Although this film has no body count, it carries with it all the danger of an erotic thriller.

Breaking And Entering feels genuinely homegrown, with an intelligent script, beautifully handled by actors and director.

An inward, austere examination of ideas of madness, empathy and the creative impulse.

It's a shame that this intriguing idea hasn't developed into the gem of a film it should have been.

The character is more sentimental, than exacting.

There is much irony on the theme of generational gulfs, internet obsessions and the nature of creativity and culture. Unfortunately none of it rings true.

As usual, Haneke never lets us forget the artifice of what we are watching.

While Pattinson is to be commended for taking on such an un-commercial vehicle - to which he definitely does no disservice - it all seems a bit too calculated, more posturing than penetrating.

Seldom has passion felt so primed, or sex so explosive.

A contemplative and visually dulcet experience.

The eventual climactic monster showdown is everything a Godzilla fan could hope for.

Hidden is no conventional mystery and viewers searching for straightforward answers to the questions that it raises are likely to be disappointed.

It's deliciously grown-up.

Denis and Binoche take a perceptive and light approach to what could have been hackneyed material.

The documentary ultimately chronicles a provocateur in his quest against indifference and the conventions of an obscene normality.

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

It is like nibbling for nearly two hours in the kitchens of the best chefs. At the end we are exhausted and hungry.

A film you'll never forget.

Lance Hammer’s drama confronts its subject unsentimentally head on with no holds barred.

Fiennes is lean in look and in performance, bringing an intensity that proves compelling.

There's a powerful idea at the heart of Shirin, and it's unfortunate that it found expression in the form of a feature film.

The absurd exaggerations and the wild parishes of humor are completely original, never cruel, and attached to a physicality that is pure cinema.

Superficially Summer Hours is an examination of the emotional fallout from the death of a loved mother, but digging deeper reveals insightful comment on nostalgia, mortality, property and family.

While the end result is important, Hùng’s film is all about savouring the moment, something that becomes more urgent as it progresses - although talk of speed has little place in a film that unfolds with the pace and beauty of a flower.

In less sensitive hands than Kore-eda's, it could have come across as cloyingly introverted but instead there is wit and warmth in the observed relationship between the two women.

In one shot, in absolute silence, we watch a single leaf fall down from high above; it is a moment so compelling that you will hesitate to interrupt it with a breath.

Despite Messina's efforts, there is much to recommend the film, especially its beautiful slow shots that give the actresses room to do their thing.

The beauty of the look of the film is matched by the intensity and nuance between Juliette Binoche and Daniel Auteuil, playing together for the first time.

Nebbou judges the mood of the moment to perfection.

Young star Paul Kircher puts in an impressively sensitive and emotionally raw peformance.