The Taste of Things serves up a complicated feast for the eyes, intrinsically tying its romanticisation of cooking as a love language to the identities and passions of its two leads.

Being able to see such a beautiful restoration on the big screen is worth the price of admission alone, and I could not recommend The Conformist more.

While Metal Skin may be uncomfortable or even unenjoyable viewing, it is a compelling, edge of your seat story of Australia’s male-dominated, rev-head culture, where burnt rubber and women who love fast cars are drivers of the male fantasy.

Fremont isn’t a thrilling film, and perhaps one that requires an eager mood, but you could scarcely imagine leaving the cinema without a sense of distinct peace. 

Mami Wata truly has the ability to spellbind, yet keeps its feet rooted in a deeply nuanced point of interest: an ever-changing reckoning with modernity.

Guadagnino has served up a smash hit, and it’s up to audiences to decide what to do now that the ball is in their court.

It’s a light summer breeze of a film clearly aimed to bring joy to both parents and kids whilst still telling a compelling story, so some kind of deep underlying metaphor is unnecessary. Just go have fun watching a cartoon dog and a robot roller-skate to Earth, Wind & Fire! Your brain deserves a break.

A patchwork quilt of genres, Alice Rohrwacher’s La Chimera is a grimy and charismatic fairytale, and Josh O’Connor is its beating heart. 

Io Capitano offers audiences an empathetic and raw portrayal of the harrowing challenges asylum seekers face, simply in order to have a better life that so many of us take for granted.

Driven by a powerhouse performance, Vanya is devilishly funny, playful, and inextricably human.

Just two bros sitting around a campfire. Five feet apart. Because they can’t face reality. 

Beginning with Lillian (Talia Ryder) embarking on a class trip to Washington DC, before a Pizzagate-like violent outburst from a young man […] interrupts her night, sending her down an almost literal rabbithole.

World cinema can bring us a film like this: a tiny love story, from a country you may never visit, dressed up like an anti-capitalist screed.

Painting a portrait of a marriage in decline, a child irrevocably changed, and a woman in freefall, Anatomy vivisects the ripple effect of its victim’s demise, familial wounds spilling open to reveal grisly entrails for all to see.

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.

The Holdovers provides us with an inarguable Christmas Movie – despite its quintessentially-too-late Australian release date – that feels ready to be an instant classic.

High octane thrills, chills and an (un)healthy dosage of familial anguish – Michael Mann’s Ferrari is an exhilarating portrait of a man whose complexity is shaped by a past scarred by immense grief.

Poignant and beautiful, The Boy and the Heron is both an interesting shift in theme and an excellent addition to Miyazaki’s extensive canon.

Ultimately, whilst its premise is much stronger than its humdrum execution, One Life succeeds in reminding us of the inherent goodness of ordinary people.

For fans and newcomers alike, I can see Godzilla Minus One being a decent watch, thanks to its impressive visuals and action, but for me, it's not particularly memorable.