A Private Life is notable as the foreign language film debut of Foster, but somewhat fails to leave a lasting impact, despite many promising elements. 

Port of Shadows isn’t very cheerful, and it makes for poor escapist entertainment, but good work is important, never mind the subject.

The Stranger exists at the razor’s edge of complacency. Ostensibly revisionist and stylistic, but also perfectly content to operate within the already existing canon of the novel, not ever straying too far or getting too experimental in its approach. 

It’s a classic French studio comedy: glossy and taking full advantage of its setting, toothless while simultaneously somehow well-observed, and would certainly go down easy on a night out with a glass of wine.

Sirât delivers one of the most distinctive cinematic experiences I’ve had in quite some time.

Nouvelle Vague is Linklater’s answer to the credence that all directors must one day make a film about filmmaking. This is an absurd thing to believe.

Serpent’s Path is filled to the brim with such evocative images of mundane criminality and the bleak and brooding horror of industrial spaces, seen so often in crime films but rarely shot as atmospherically as with Kurosawa’s hand.

A slow burn, but a gripping one, Two Prosecutors is among the most fascinating films you’ll see this year.

I couldn’t take my eyes off the beautiful trans women on screen — and neither could the men depicted in this harrowing yet funny film.

Les Rendez-vous d'Anna follows the tranquil, lonely odyssey of Anna Silver, a filmmaker travelling across Western Europe to promote her new film.

The Thread is an understated courtroom drama that is guaranteed to leave you questioning absolutely everything by its end.

The Shrouds presents potential by reeling in its audience at the beginning, but then loses its grip on them far too soon.

The Story of Souleymane is ultimately exhilarating in its revelation of the hardships of illegal French immigrants, with its immersive nature making for an intense cinematic experience.

Beating Hearts is a film of great indulgence, over saturating you with love, violence and earnestness, and asking for no more than an open heart and a not-so-critical mind.

Upshot is a perfect example of utilising simplicity to underline the horror of reality.

The Count of Monte Cristo, directed and written by french duo Alexandre de La Patelliere and Matthieu Delaporte, is a three hour epic worthy of the source material.

Meet the Leroys (Nous, les Leroy), the directorial debut of Florent Bernard, is a 102-minute French dramedy that explores the emotional toll of divorce on an entire family.

Dahomey is a compelling narrative that underscores the legacy of a colonial past onto the present while demonstrating hope for a future shaped by the Beninese people.

Rasoulof brings the audience directly into Tehran - this film will most likely be the closest thing we’ll ever have to see into the lives of those who have been oppressed in Iran.

While I’m Still Here is quite simple in terms of filmmaking, it is elevated by its incredible performances, storytelling and authentic portrayal of the time period.