Urchin isn’t concerned with a film-like “happy” conclusion to its character’s problems; it lets you marinate in the idea that things might not actually get better - and that was refreshing.

Reijn suggests that pleasure has an interstitial quality, making it neither good nor evil, only a key part of life.

As the saying goes, the journey is more important than the destination, which makes it a shame that Blitz feels more like a scrapbook of contrived wartime escapades. 

Sean Durkin’s The Iron Claw superbly avoids the pratfalls of biopic cliché and transforms the story of the Von Erich clan into a harrowing denunciation of toxic patriarchal masculinity masquerading as familial dynasty.

Offbeat, endearing, and at times, soul-crushing, Charlotte Regan’s feature debut Scrapper poignantly weaves tangerine-tinged whimsy into a tale of reconciliation, effortlessly bearing the weight of immeasurable loss with a touching irreverence.

Maybe skip the popcorn for this one, but make sure you climb aboard for one of the best films of the year.

Like any great whodunnit, See How They Run is about the investigation rather than the reveal. And with two loveable investigators, a bunch of effortless jokes, and some engaging visual storytelling, it makes for a killer night at the theatre.

Where the Crawdads Sing is a unique take on the who-dunnit genre, and though it lacks the punch of a satisfying conclusion, it still leaves a lasting impression.