A shot of a dead field mouse sets the tone for this sobering “slow cinema” documentary, narrator-director Christopher Morris’s response, simultaneously aghast and philosophical, to the looming environmental catastrophe.

You can imagine the thought processes that brought Kenneth Branagh’s latest adventure as Poirot, his third, to the big screen.

Seeking to be both a documentary and a musical tribute to Marc Bolan, AngelHeaded Hipster doesn’t quite pull it off on either count. It’s based around the making of an album (whence the film gets its title) of versions of Bolan’s songs by an interminable list of artists including U2, Joan Jett, Devendra Banhart, Macy Gray, Beth Orton and many more, produced by Hal Willner and released in 2020.

Older fans of T Rex will get pleasure from hearing the band’s tracks and reliving some of the buzz of being a dino-rocker, but, despite the title, this isn’t strictly a fan film. Describing what kind of film it is, though, would involve a serious spoiler, which points to its wonky narrative ambitions. It expends a lot of screen time building up to an unsurprising reveal (more on that below).

A cameo by Jeremy Allen White wouldn’t usually excite interest, but the star of Disney+’s The Bear is big box-office now, so his presence in Fremont, however brief, will probably guarantee it an audience. There the curious will also find a gem from the Iranian-born director Babak Jalali and a serenely powerful debut performance by Anaita Wali Zada, who gives this simple-seeming project an inner glow.

“There’s nowt so queer as folk”, they say, and Life on the Farm amply proves the point. A cassette slides into the slot; “play” is pressed and a middle-aged man appears on screen at the gate of Combe End Farm. “Follow me down”, he says to camera,”I’ve got something to show you.”

In the mood for love? It’s over 23 years since Wong Kar-Wai’s swoony, bittersweet film of that name reset the bar for the art-house love story. Now comes Celine Song's Past LIves, an entirely different kind of bar-setter but with a similar tough-but-tender core. It’s an unshowy, slim film, but it takes on hefty topics: can love survive for decades, can it cut through cultural barriers? What does a relationship need to survive?

Mercy Falls isn’t the only Scottish film of the past year in which a young woman is haunted by childhood memories of a last summer holiday with her troubled father. And while Ryan Hendrick’s low-budget horror is unlikely to garner as much critical acclaim as Charlotte Wells’s Aftersun, at least it’s more eventful.

Otto Baxter is no stranger to the camera, ever since he was a small boy he’s been featured on television with his adoptive mother Lucy Baxter, an impressive campaigner for better understanding of people with Down's Syndrome. Archive footage shows him to be a cheeky, outgoing child with a keen sense of fun.  

From Forty Shades of Blue, 20 years ago, to Keep the Lights On and Love is Strange, writer/director Ira Sachs has proved himself to be a master at exploring romantic relationships – and the messier, the better. So, after the whimsical, inconsequential ensemble Frankie, he’s back to his best with a good old-fashioned love triangle.