LA CHIMERA has an odd tempo, like a half-remembered story from long ago that becomes clearer when there’s a little rhyme to help you along.

SORCERY (BRUJERÍA) tells the fascinating story of the La Recta Provincia witch trial in 19th century Chile in a dull and dreary way.

Lousy Carter (David Krumholtz) is dying and Bob Byington’s film invites us to ask, who cares? On paper, he’s an unlikeable American literature professor, a narcissist with few friends who halfheartedly pursues a relationship with a student.

The last two seconds of SAINT MAUD prove Rose Glass is a visceral filmmaker and that’s on full aural and visual display in LOVE LIES BLEEDING: we hear the sounds of muscles stretching and throats constricting; we see jawbones breaking and blood spatter squelching.

Like THE CREATOR, RESTORE POINT (BOD OBNOVY) showcases what CGI visual effects can be produced on a small budget in a way that puts much more expensive Hollywood blockbusters to shame.

Though a little off-putting, there’s something charming about the vourdalak puppet who looks something like a Jan Švankmajer creation crossed with one of Mike Mignola’s skeletons from Hellboy in Hell.

Rub your tummy or I’ll think you’re an asshole. UNCUT GEMS in Glasgow: a tense, strange, and frequently hilarious psychological drama that gradually turns a ridiculous situation into the cosmic metaphysical horror of painful and anxious rebirth.

A love story told backwards taking us from the devastating impact of a couple’s long-running emotional affair to the tragedy that cemented their lives together in the first place.

It may be strange to say at the end of a series reviewing late-Bond through a political lens but NO TIME TO DIE works by focusing on the personal.

I always find myself using the word ‘deftly’ when reviewing Christian Petzold’s films but that’s because there’s an effortlessness to the filmmaking that feels so completely natural.