Rest assured, the hour-long run-time of ‘Domestic’ flies by, with impeccable timing and jokes infused with personal anecdotes, Cameron creates genuine warmth and engagement with the audience that few others are capable of.

Every so often, you get to watch a film that chills you to your core, and properly challenges your belief in the good of people and faith in human nature to care for one other. Even more unsettling so, sometimes that film can be a documentary. This is one of those films.

The title itself alludes to the film’s central premise: ‘Supernova’ is about a couple deeply in love, and when an endpoint to their relationship is revealed, their emotions and sadness burst in all directions.

The Father showcases the horrors of dementia with standout performances by its lead actors. First-time director Florian Zeller adapts his own stage play with limited settings and cast, but powerfully wrenches at the heart with the psychological turmoil of its few characters.

Many of the horror genre’s all-time classics, such as Rosemary’s Baby (1969), The Exorcist (1973), and The Omen (1976), are based firmly in Christian beliefs, in an association that continues through to modern-day favourites like The Conjuring (2013). While Saint Maud, the debut film by British writer-director Rose Glass, is also a horror film with religion as its central theme, its unique approach offers a refreshing change of pace from this long-standing stereotype.

This new work by writer/performer Ellen Grimshaw, We’re Probably Really Really Happy Right Now is a raucous, delightfully heightened piece of theatre that tears open the facades and toxicities we’ve all come to accept in our daily life.

Earwig and the Witch holds the distinction of being the first film from the esteemed studio to be entirely 3D animation, as opposed to the traditional hand-drawn films before it.

However, that is probably the last distinction the film has.

One Night in Miami… is a terrifically deft piece of cinema whose limited scope gets widened with larger-than-life characters that not only represent their individual burdens, but also carry with them the historical weight of their actions.

My Salinger Year, directed by Phillippe Falardeau, is a warm and engaging film about a young writer’s attempt to forge her own voice.

As a Melbournian myself I did enjoy the Aussie terminology, accents, Fitzroy streets and other familiarities, however the storyline of How Do You Know Chris? was lacking.

The authenticity of Lingua Franca’s narrative is reinforced by the talent of its director and star, Isabel Sandoval, who is the first ever trans woman of colour to write and direct a feature film screened in competition at Venice Film Festival.

While at first glance, this film screams Marriage Story, the execution of the film is a lot less emotionally exhausting and a lot more wholesome.

My initial thoughts on the film were that it was going to be another teen movie, trying too hard to be relatable and a typical coming of age movie. I was admittedly, very wrong.

Miss Juneteenth is a beautiful, warm story about the difficulty of balancing current adolescent wishes, with past adolescent regrets.

As much as this is a story about the infamous mime artist Marcel Marceau, it doesn’t feel like his heroism takes over the greater purpose of the French Resistance

The Wretched is a mediocre horror film that reuses generic tropes in a shallow yet visually engaging story…

Why would one watch Notre Dame? Maybe for its likeable characters, their comic yet touching performances, the idiosyncrasies of a French film or…

Endings, Beginnings explores the intricacies of restarting and the willpower to begin again…

Burden is a naïve but noble attempt to explore the complicated nature of ingrained racism in the American South.

Elly is the debut novel from Berlin-based filmmaker and short story writer Maike Wetzel, translated to English by Lyn Marven. Eerie and lyrical, it offers a unique twist on the well-worn missing persons archetype.