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The Echoes by Evie Wyld review – exquisite and frustrating

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Bluff by Danez Smith review – defiant poetry of protest

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The Salt Flats by Rachelle Atalla review – risk-taking and unsettling speculative fiction

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Only The River Flows review – a Chinese crime thriller awash with mystery

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Our Evenings by Alan Hollinghurst review – a poised look at the state we’re in

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1984: The Year Pop Went Queer by Ian Wade review – a celebration of gay visibility in music

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Postcards From Scotland by Grant McPhee review – a bittersweet tribute to Scottish indie bands

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Kensuke’s Kingdom offers an emotional edge over Disney’s slick and song-filled mega-flicks

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Parade by Rachel Cusk review – captivating in its understatement

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Napalm in the Heart by Pol Guasch review – a beautiful and affecting debut novel

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The Light Room by Kate Zambreno review – a staggering breadth of knowledge

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One Grand Summer by Ewald Arenz review – an understated and empathetic coming-of-age story

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The Eyes Are The Best Part by Monika Kim review – tension-filled horror debut delivers

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Francis Ford Coppola’s The Conversation is an eerie prediction of our surveillance age

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Scaffolding by Lauren Elkin review – Parisian feminism through the ages

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Kinds of Kindness show it’s not enough to accept alienation under capitalism – we must love it too

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Freakslaw by Jane Flett review – dark comedy set on the edge of the mainstream

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Blur: To The End review – poignant new music film shows a band of brothers reunited

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Why Sasquatch Sunset is so much more than just a gross-out comedy in Chewbacca drag

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After the pandemic years, audience are more appreciative of intimate musical experiences than ever

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