Search: Starring Maria Dizzia

Although it's not entirely successful as a film, its balance of comedy and tragedy serves to demystify a part of life too often hidden away.

The camera drifts through it at a leisurely pace, back and forth, up and down, taking in different details one might when wandering around drunk or half asleep. From these, story and meaning gradually coalesce.

Craig Shilowich's careful scripting avoids all the usual mental illness cliches and hystrionics to help us sympathise with her even in her most unpleasant moments.

A tender-hearted comedy with a deep understanding of what it feels like to be a child.

Essentially, this is Gerwig's natural charm versus her character and script's lack of it.

Chandor makes good use of his acting assets and there's no doubt that he knows how to direct, but ultimately, the dullness of the script is just a little too toxic.

As a moody, atmospheric study of paranoia, it is hard to beat.

Savvy viewers may guess where this is all going, but Curry doesn't push the emotions or the pace despite showing a decent passage of time.

Without a doubt, Pesce is one of the most exciting young directors to emerge in recent years.

Blyth and Tovey have chemistry to burn and Emmi generates pressure cooker tension as the past and many faces of the present prove to be just a synapse away in the kaleidoscope of Lucas’ mind.

Something happens in the courtroom that puts a hammer to the spanner

Valia and Kirby work together with wonderful ease, whilst cinematographer Charlotte Hornsby and editor James Codoyannis give key scenes a fluid, volatile quality which keeps us uncertain of how they’re going to develop.

The biggest problem with Ryan Piers Williams' latest is that, although it is nicely shot and well acted, the characters with the most going for them are given the least screentime.