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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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No Small Thing by Orlaine McDonald review – breaking the generational cycles of harm

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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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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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Deliver Me by Elle Nash review – transgressive thrills

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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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Netflix’s Hit Man is what we used to call ‘a good time at the movies’ – but times have changed

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The Horse by Willy Vlautin review – funny, shocking and heartfelt contender for book of the year

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The Great White Bard by Farah Karim-Cooper review – a new way of seeing Shakespeare

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Parasol Against the Axe by Helen Oyeyemi review – electrifying, experimental writing

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The Hearing Test by Eliza Barry Callahan review – a droll insight into a year of loss

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