Minutes into Make Up, Claire Oakley’s auspicious first feature as writer-director, unearthly sounds welcome unwitting Ruth (Molly Windsor) to her intimidating baptismal adventure as an 18-year-old who's not so much bi-curious as bi-phobic. A nail-biter to begin with, she’s soon hearing and seeing portents of horror everywhere, not least on the tips of her fingers.

It may be one of the first movies to be shown in cinemas post-lockdown, but Unhinged is a pale ghost of some much better movies. Its headlining hook is the presence of Russell Crowe in the central role of a road-rage vigilante itching to find victims upon whom to vent his spleen – at one point he gives his name as Tom Cooper, but it probably isn’t – yet Crowe is barely recognisable as the star who bossed Gladiator or rocked the house in LA Confidential.

Like a sub-par Natural Born Killers for Gen Z, director-screenwriter Joshua Caldwell’s latest film, featuring Disney-child-star-turned-porn-director Bella Thorne, tackles the perils of social media like a parent trying to navigate TikTok. 

It’s no accident that the eponymous young antihero of Coincoin and the Extra-Humans loses his virginity to the daughter of a French white nationalist in a field close to a sewage farm. The stench of racism pervades the hilarity of Bruce Dumont’s follow-up to his 2014 miniseries Le P’tit Quinquin, which happily features the same principal cast members.

“I’m for sure getting rid of it,” 34-year-old Bridget (cool, understated Kelly O’Sullivan, who also wrote the script; she was creatively inspired by Greta Gerwig's Lady Bird) tells her younger, casual boyfriend Jace (an endearing Max Lipchitz) when she finds out she’s pregnant.

Ever felt like you could express yourself more freely, if only you could get away from everything that made you who are?

Roberto Saviano’s book Gomorrah shone a blinding light on the Camorra crime clans of Naples, and spun off an acclaimed film and equally admired TV series.

At a point in the early noughties, every third film was a teen comedy about a road trip to lose one's virginity. It’s a genre most were glad to see the back of. What a pleasant surprise Come As You Are is then, which brings much needed heart and relevancy to this tired trope.

Stylish, eerie and unexpectedly moving by the time of its apocalyptic finish, the strangely titled Good Manners makes for a genuine celluloid surprise.

“All we want is to be seen and heard,” explains a lawyer to a death row inmate, paraphrasing a line from Ralph Ellison’s novel Invisible Man, from which Chinonye Chukwu’s new film Clemency takes inspiration.