En Équilibre addresses the impact of disabling and irreparable injury, thwarted ambitions, the questionable practices of insurers, and the connection between two dissimilar, yet both frustrated, characters. Despite its different strands, the film adeptly draws them together into a coherent and unexpectedly enthralling whole.

London property prices could well plummet, not to mention James Franco's ever-wayward career, if enough people see Good People, a staggeringly inept London-set gorefest that casts James Franco as an expat London property developer and Kate Hudson as his schoolteacher-wife who likes buying major appliances for friends as gifts. 

A few months ago I saw a documentary called Ming of Harlem: Twenty-One Storeys in the Air, about a man who kept a tiger and an alligator as pets in his tiny New York apartment. It was a staggering thing to comprehend, not just because of the logistics involved, but the blithe cruelty in doing that to an animal, even a savage one. Then I saw The Wolfpack.

No, this doesn’t concern cruelty to wolves, but to children, and not just any children, but a man’s own. I’m beginning to wonder what they put in the water in Manhattan.

What’s it really like to be a dictator? Or president, if we put it more circumspectly, as Iranian director Mohsen Makhmalbaf does in his new film of that name – though this President clearly believes he’s of the “for-life” variety, if not even a rung higher given that the mode of address in this contemporary court is, “Your Majesty”.

The British release of the first film made by Alejandro Jodorowsky since 1990’s The Rainbow Thief is an event. Although the Chile-born director disowned that, his reputation was secured with El Topo (1970), The Holy Mountain (1973) and consolidated with 1989’s Santa Sangre. In all, after his 1968 debut Fando y Lis, he has only completed six other films.

The TV series on which Guy Ritchie has based his new spy-buddies movie first appeared on the small screen (in black and white) in 1964, when Napoleon Solo and Illya Kuryakin welcomed us into their secret lair in New York and introduced themselves as "enforcement agents" for U.N.C.L.E., apparently a sort of UN/CIA hybrid. The grandfatherly Mr Alexander Waverly, resembling a retired bank manager in venerable tweed, announced himself as their boss.

People talk at and not to one another in Mistress America, the latest collaboration between director Noah Baumbach and actress Greta Gerwig and the first to make me wonder whether the unarguably gifted real-life couple might benefit from an outside eye to let them know when enough is enough.

The epic and the intimate combine impressively in Jordanian director Naji Abu Nowar’s debut feature Theeb. The epic is there is the scale of the stunning desert landscapes that are the backdrop – though the desert itself almost feels like a character here, and generic allusions to the Western abound – to his World War One story of complicated Bedouin loyalties played out on the edges of the Ottoman Empire.

Multiple stars are born in The Diary of a Teenage Girl, the conventionally titled film premiered earlier this year at Sundance that turns out to be unconventional in every way that matters. Adapted from Phoebe Gloeckner's novel about a 15-year-old's coming of age in the swinging, drugs-soaked San Francisco of the 1970s, first-time director Marielle Heller has made one of the most probing films yet about that painful journey we all make through what Henry James so succinctly titled "the awkward age".

When Al Pacino burst into the spotlight as Michael Corleone in The Godfather, his celebrated co-star was Marlon Brando, who for years had been giving eccentric performances and making a mockery of his talent, but was about to offer audiences a reminder of the innately consummate actor he was.