The world might have changed drastically in the wake of Covid-19, but thankfully those hyperactive, candy-coloured Trolls haven’t. Anna Kendrick and Justin Timberlake are back as the delightful odd-couple, Poppy and Branch, for round two of pop-infused peppy animated adventure in the land of felt and feelings, where music can solve a myriad of problems. 

“They say we all have a beast locked up inside of us,” a character observes early in this Korean crime movie. Monsters are certainly chewing at the moral fibre of police captains Jung (Lee Sung-min) and Han (Yoo Jae-myung) as they corruptly pursue promotion.

Director Oleg Stepchenko’s follow-up to his 2014 yarn Forbidden Kingdom swaps the latter’s Transylvania for a fantastical computer-generated frolic round 18th century Russia and China, as pioneering cartographer Jonathan Green (Jason Flemyng) sets out to map the extremities of the known world.

Horror has always been a good vehicle for satire, from John Carpenter’s They Live to Jordan Peele’s Get Out. Some metaphors opt for the subtle precision of a surgical knife, and others the hit you over the head. The Platform on Netflix is the latter, a brutal, blunt and effective sledgehammer.

With over one hundred books to her name and several hugely popular TV spin-offs, including the Tracy Beaker adventures, Jacqueline Wilson takes a no-nonsense approach to children’s fiction that reflects the realities of jigsaw families, mental and divorce. In 2012, in something of a detour from the rest of her work, she wrote a sequel of sorts to E. Nesbit’s beloved magical children’s classic, Five Children and It.  

After his two mysterious, tightly-coiled and idiosyncratic first features, Neighbouring Sounds and Aquarius, the masterful Brazilian director Kleber Mendonça Filho lets his hair down with an exhilarating, all-guns-blazing venture into genre.  

The UK-wide lockdown has thrown the cinematic release schedule into chaos. Some films are postponed indefinitely, while others have opted for direct digital releases. It’s not ideal for anyone, but in a strange way it may play to The Whalebone Box’s favour. Specialist arthouse streaming service MUBI has secured the exclusive rights, and their captive subscribers are the ideal audience for such a strange, hypnotic piece.

Saudi director Haifaa Al Mansour is back on home territory with her new film, and you’ll recognise much here from her characterful 2012 debut Wadjda, itself the first-ever feature to emerge from her home country.

Imagine being trapped in your perfect home forever. It’s easy if you try now, as Vivarium’s allegory about property and parenthood is deepened by events.

Benni, the central character in German writer-director Nora Fingscheidt's haunting new film, has a life of tragedy and violence. She’s the product of a dysfunctional family and an abusive childhood that has left her rage-ridden and incapable of controlling her anger.