Last Days director Gus Van Sant’s latest film is another unconventional, oblique narrative about a skate-obsessed teenager confronted with a terrible event.
Review by Tom Huddleston

Winner of this year’s Cannes festival, the story of a backstreet abortion paints a powerful portrayal of a Romania tyrannised by communism.
Review by Sarah Cronin

The Saragossa Manuscript remains one of the masterpieces of European literature and this famed but rarely seen 1960s Polish adaptation, finally restored to its full-length glory, aptly recreates its dazzling storytelling.
Review by Virginie Sélavy

Joseph L. Mankievicz’s magnificent and ferocious portrayal of stardom is being revived as part of a retrospective of the great director’s work.
Review by CB

In spite of its lush visuals and provocative eroticism, Ang Lee’s espionage thriller fails to impress.
Review by Tom Huddleston

An enigmatic, unsettling vision of the modern geopolitical landscape, and a subtle critique of bourgeois disquiet and disaffection.
Review by Merlin Harries

Supernatural horror thriller KM31 became a huge hit at the Mexican box office after its release in February this year, grossing an impressive $15 million. The film marks Rigoberto Castañeda’s debut as a director and as such serves as a showcase of his diverse horror influences.
Review by Lindsay Tudor

Not only is there no conflict in Heima, but the film actively embraces consensus. Brass bands and village halls, symbols of community, are celebrated in the film. The principle of the tour, playing free gigs in unusual and remote locations, encourages a sympathetic and unusually varied audience (old people, children and pagans), and it’s intriguing to watch how the rejection of commercial imperatives creates the setting for all this harmony.
Review by Nick Dutfield

An unforgettable silent masterpiece made by two giants of cinema, Tabu reminds us how it was once possible to take innocent delight in the alien-ness of a distant culture.
Review by Peter Momtchiloff

As movie openings go, the first minute of this landmark British noir takes some beating. Surveying a night blacker than newspaper print, a disembodied voice introduces us to the scene we’ll spend the next 100 minutes touring: ‘the night is tonight, tomorrow night or any night. The city… is London’.
Review by Pat Long