That rarest of things for me: a legitimately funny comedy movie. There’s just the right balance of snappy dialogue, colourful characters, postmodern references, and absurdism. In expanding from his original short film, Danny Turkiewicz wisely recognises that this comedy doesn’t need the addition of big emotional arcs but just needs to be more. All you need to know is that it made me laugh after a busy day and one Jason Alexander bit about pickles had me crying.

Confusing and low-res witchy tale.

Wildly effective experimentation with form and horror subgenre.

A horrifying but slight Brazilian folk horror that holds back narrative information and allows the viewer to do the work of imagination.

Forgettable vampire story with themes of screen addiction and social media use.

Charming transgender Cinderella.

Gorgeous stop-motion animation taking inspiration from the Brothers Quay. About interdependence, suffocating relationships, and rabbits.

Beautifully horrifying animation about domestic abuse with Ghibliesque food animation.

Traditional dystopian English folk horror subverted as very effective queer revenge story.

For a film about hoarding and collecting excess, it’s almost appropriate how much cruft there is in HOARD that could have been edited out and pared down. This could have been a much tighter film about the looming spectre of family mental illness and how love and sexual awakening brings these chaotic demons to the surface. The central idea of the “catalogue of love” is heartbreaking in its tenderness and its grotesque implications and the film needed to be streamlined for that emotional throughline. Both Saura Lightfoot Leon and Lily-Beau Leach are terrific as Maria, bringing the strange poetry of her illness to life in a way that’s as beautiful as it is disturbing. HOARD just needed less of the excess around that central emotional structure.