It’s the summer vacation and eight-year-old Sasha (Eylul Guven) and her three brothers have moved into a new house on Vancouver Island with their Hungarian parents. The kids trampoline, visit a wildlife preserve with their mother, walk on the beach, make paper boats and sail them in the kitchen sink. Dappled sunlight is filtered through trees. There’s a feeling of boredom and of time passing slowly. Their father (Adam Tompa) silently films everything on his video camera.

Nineteen-ninety-five was the dawn of the internet for most people, and the same year saw the release of the first Toy Story movie. Yet cyberspace and “tech” has rarely intruded into the frantic playroom of the Toy Story characters. Toy Story 3 (2010) was at one stage due to have them searching for one of their kin on the web until that script was ditched. (It was a brief time when the franchise was taken away from Pixar, the legendary outfit that pioneered cartoons done by computer chip.)

Fans of classic Hollywood movies are liable to suffer a stab of frustration these days, when polls or vox pops canvas people’s favourite films. Selections seem to skew towards the worthy; there’s a performative whiff to a lot of it. Those Criterion Closet Pick videos are a case in point: “Pixie Buttermore, breakout star of Slithering Zombies 4, selects Woman in the Dunes”. God forbid somebody should pick something from the Golden Age.

Madfabulous, director Celyn Jones’ retelling of the true story of an heir who bankrupted a peerage, is a truly beautiful film – worth a watch if only for the excellent outfits worn by its iconic queer antagonist (played by Callum Scott Howells). 

Spielberg’s new close encounter of the third kind asks for faith in humanity and extraterrestrial life which it struggles to earn, his old sense of wonder only fitfully sparking as he argues that, whether contemplating our neighbours or the cosmos, we are not alone.

Charli xcx’s cinema blitz includes seven acting roles and Wuthering Heights’ soundtrack, reinforcing her cultural ubiquity since 2024’s Brat summer. Film remains an adjunct to her sensational avant-electropop, not yet following Lady Gaga’s transition to Oscar-winner and pop part-timer. Pete Ohs’ micro-budget Erupcja anyway trades minimally on her persona, trusting her charisma to underwrite a character who credibly triggers volcanos.

Keith Jarrett’s Köln Concert is one of those albums that transcends its genre; it’s not only the best-selling jazz solo album of all time, but the best-selling piano album of any kind. And aside from its almost transcendental quality, this success reflects the mythical reputation of the one-off concert that it records.

Steve Martin famously said that writing about music was like trying to dance architecture, so maybe making a movie about painting is like – I don’t know – trying to chant ceramics. But this Britain-New Zealand co-production has a go at following in the footsteps of films such as The Agony and the Ecstasy (1965) and La Belle Noiseuse (1991), both of which got us more than half-interested in the deeply mundane and scarily intense business of daubing paint.

Julian Sklar (Ian McKellan) has, he says, painted nothing but shit in 30 years and nothing at all for 20. In the Sixties he was a major star of the British art scene. Now he’s reduced to making personalised video messages for fans (apparently he still has plenty), wearing a blue beret for an authentically artistic look. £149 a pop, £249 “if I sign”.

If you seek a filmmaker to create the fine grain of 20th-century Europe at its most traumatised, you can’t do better than Hungary’s László Nemes. The textures of his grinding Holocaust movie, Son of Saul (2015), are hard to dispel from the mind. His new film is set in a broken Budapest a year after the failed uprising against communism in 1956, and anyone with even a folk memory of the 1950s will recognise the scruffy streets, weathered rooms and dilapidated lifestyle items of that time.