SANCTUARY’s thoughtful depiction of fetish uses the sense of mystery behind sub-dom to bring the audience into the characters’ tangled power dynamics.

A mix of THE WICKER MAN and GROUNDHOG DAY that is an interesting blend of genres but adds up to less than the sum of its parts.

An English woman struggles to find the M8 and gradually learns to see Scottish people as human beings. The best representations of the alien and unknown use abstract visual poetry to represent the alien as not only unknown and unknowable but literally inconceivable to us within the bounds that we think in.

When I hear motorists and politicians complain about Extinction Rebellion or Just Stop Oil blocking roads, I think they ought to be thankful that the activists are engaging in such milquetoast actions.

THE ORDINARIES’ main character, Paula Feinmann (Fine Sendel), is a Supporting Character. Her father was a Main Character and she studies at the Main Character School to learn how to emote and how to draw the narrative’s attention to herself.

An England seen through the prism of mental illness might be the truest view of England. TYPIST ARTIST PIRATE KING takes the audience on a psychogeographic journey along the length of England through the eyes of Audrey Amiss (Monica Dolan), a mentally ill British artist whose work was only recognised after her death in 2013.

A documentary about the theme of failure that abdicates its responsibility to discuss the actual human costs of failure. Stephen Skrynka is a visual artist obsessed with the Wall of Death, a fairground stunt attraction inside which a motorcyclist drives around the walls of a wooden cylinder.

Trapped in the intersection of mental health issues, trauma-induced anxiety, and contemporary Scottish racism, Grace (Déborah Lukumuena) seeks to insulate her and her daughter Ama (Le’Shantey Bonsu) against the world outside their high-rise flat.

This year’s EVERYTHING EVERYWHERE ALL AT ONCE: a joyous and hilarious blend of genres that uses irony and maximalist extravagance to speak sincerely about specific lived experience but in a universal way.

Šarlota (Natália Germáni) returns to the mountain village where she grew up to find she’s an object of suspicion to the villagers.