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  • Wind

    Wind

    ★★★½

    Iványi - then a 23-year-old student at the Hungarian Academy of Drama and Film who, in another of the short's attendant mysteries, went on to no kind of career whatsoever - packs a lot into a mesmerising six minutes: not just a small but considerable feat of location management and camera choreography (alighting with an equal care and fascination on a hollowed-out rural landscape and the lived-in textures of an overcoat), this is also as teachable a definition as I've encountered of the difference between stills photography and cinema.

  • Barking Dogs Never Bite

    Barking Dogs Never Bite

    ★★★½

    Bong makes inspired use of his primary location - a screenfilling housing block with corridors that map the contours of the plot, and unfinished business in the basement that points the way forward to "Parasite" - while loading every frame with odd, eyecatching imagery: cracked walnuts, scrolls of paper, bloodied snouts. (He gets a big laugh from a close-up of a recalcitrant strawberry.) The miracle of this career - borne out when Jane Fonda revealed the name of the Best…

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  • Tenet

    Tenet

    ★★½

    The film that confirms Nolan no longer has any interest in human beings beyond assets on a poster or dots on a diagram... Visually and spiritually grey, it's too terse to relax and have a moment's fun with its premise; it's a caper for shut-ins, which may not stop it from becoming a runaway smash.

  • Koko-di Koko-da

    Koko-di Koko-da

    ★★★½

    A lesson in grief, and how it can hit you on certain days. Initially surrounded, outnumbered and sundered by their demons, the couple begin to anticipate their pursuers' movements, work together and eventually achieve some mastery over the carny folk; an unexpectedly moving return to that magic lantern show in the final third gestures towards the place art might have in this process of healing. It will entail some built-in repetition, and I can't promise you a happy ending (although…