Disappointment is instant, anyway. David Robert Mitchell’s second film, It Follows, was a teenage horror tragedy of perfectly sustained emotion. His third, Under the Silver Lake, seems superficial and scattershot, a callow effort at a magnum opus, in which the former work’s feeling is replaced by pop culture riffs.

Benjamin is the debut feature of Simon Amstell, a young director who has thought cleverly about the torments (and hilarities) of artistic creation in an information-soaked world.

This might just be the most challenging film review I’ve had to write in decades. The best thing would be to go and see Border knowing nothing more than that it won the prize for most innovative film at Cannes. Don't watch the trailer, and definitely don’t read those lazy reviewers who complete their word count by writing a detailed synopsis ruining every reveal and plot twist.

Lisa, the kindergarten teacher in question (a mesmerising Maggie Gyllenhaal), is taking evening classes in poetry. Twenty years of teaching and raising her three kids, now monosyllabic, mean teens, have left her desperate for culture and a creative outlet. Her stolid husband (Michael Chernus) tries his best to be supportive, but he doesn’t really get it. “My teacher says I need to put more of myself into my work,” she sighs, as she picks at a dull salad at home in Staten Island after class. Well, that’s not going to happen.

It’s a parental nightmare that’s virtually impossible to comprehend – a missing child. But however disturbing, that dilemma is not the chief concern of the Iranian writer/director Ashgar Farhadi’s latest drama. As ever, he’s interested in the psychological scars and relationship fault-lines that a crime or misdeed can expose. 

There have been two relatively recent, welcome correctives in what is grandiosely referred to as the “Marvel Cinematic Universe” – a move towards diversity (Black Panther) and a sharp injection of comedy (Guardians of the Galaxy, Thor: Ragnarok).

Ray’s world has shrunk to a single room in a council flat. His life consists of drinking home-brew, smoking, gazing out of the window, listening to Radio 4 and sinking into an alcohol-induced stupour. There’s no need ever to leave his bedroom because his neighbour Sid does all the necessaries. 

Mothers’ fears for and of their children are primal horror material: The Babadook and Under the Shadow set recent standards for exploring its emotional terror.

You’d expect the man who created Peaky Blinders and the ingenious one-man-and-his-car drama Locke to have his ducks in a row and his feet planted securely on terra firma, but in Serenity Steven Knight seems to have permitted himself a leisurely mental vacation. It’s a tale of love, loss, multi-dimensional weirdness and a very large fish. Technically it’s a tuna, but really it’s a red herring in disguise.

Hannah is a vehicle for Charlotte Rampling, and it's no wonder she won the Best Actress Award for her role at Venice in 2018.  The film follows her as she gradually falls to pieces, without a trace of hysteria, slowly and surely, with her husband in prison for reasons that are never clear.