It’s hard to imagine a movie more of its time than Zola, as it takes on sex, race, the glamorisation of porn and the allure of the ever-online world. For 90 minutes we are embedded in the lives of two young American sex workers and it’s a wild ride that leaves its audience breathless as they try to keep up with the hand-brake turns and sudden changes of pace and tone.

How lovely it must be to direct a documentary about your favourite musicians and have no one stop you from cramming in everyone who has ever loved them too. The British director Edgar Wright, best known for his feature films (including Hot Fuzz, Baby Driver and Shaun of the Dead) and TV work (Spaced), is a superfan of the American musicians Ron and Russell Mael.

Displacement looms large over every quietly impressive frame of Limbo, writer-director Ben Sharrock's magnetic film about a young Syrian man called Omar (Amir El-Masry) who finds himself biding his time in the remotest reaches of Scotland on the way to some unknown new life. 

The Most Beautiful Boy in the World is the most harrowing film you are ever likely to watch, but don’t let that put you off. This was a documentary waiting to be made. It tells the story of a young beauty propelled into international stardom before gradually descending into alcoholism and abject despair.

Mamma Mia! hovers unhelpfully over every frame of Off the Rails, a road movie of sorts in which three women make a music-fueled pilgrimage to Mallorca to honour the wishes of a fourth friend, who has died before time of cancer.

You can rely on M Night Shyamalan to deliver supernatural shocks and freakish events, but the alternative-reality nature of his projects demands suspension of disbelief. It’s great when it works (The Sixth Sense or Split), but a bit of a bummer when it doesn’t.

All events are products of a series of preceding events. Or is life just a chain of coincidences? And if so, what’s the point in anything?

“Do you have a problem with old dykes?” demands Nina (the superbly ferocious Barbara Sukowa) of a bland, nervous young estate agent, halfway through this wonderfully original first feature from director Filippo Meneghetti. No, he stammers. “You see, no one gives a damn, except you, Mado,” she hisses at her secret lover Madeleine (Martine Chevallier).

It’s entirely appropriate that in 2021, when debates about racism fill our minds and music festivals are still curtailed that Summer of Soul, filmed in 1969 but forgotten for decades, should win Sundance and hit our screens. Its director Questlove (aka Ahmir Khalib Thompson) is a man of many talents, frontman with The Roots, a DJ with an extraordinary vinyl collection and a music journalist.

Even for this reviewer, who was brought up on Tove Jansson’s quirky children’s books (and is the owner of some 50 different Moomin coffee cups), it’s a stretch to recommend dropping everything to go and see Tove in the cinema. There’s nothing wrong with the film as far as it goes, but unfortunately it doesn’t go quite far enough.