Babyteeth gets off to a terrific start. A semi-naked, manic Moses (Toby Wallace, full of scabby charisma) almost pushes 15-year-old Milla (Eliza Scanlen; Sharp Objects, Little Women) on to the Sydney train tracks as she waits on the platform in her school uniform, carrying her violin. It’s a thunderclap: she’s smitten.

What if there was a pill you could pop that gave you superpowers? The only catch is that, while it might make you invisible or bullet-proof, it might also boil your brain or make you explode with just one hit.

Allergic to that word “influencer”? Afraid that social media is the death of civilisation as we’ve known it? Then this movie may be for you.

This seems a perfect project for Matteo Garrone, a director who has found new ways to conjure old Italian dreams, and invests even his most grimly realistic films with fairy tale logic and wonder. Carlo Collodi’s 1883 story is here returned to its local time and place, as Pinocchio’s picaresque journey of experience unfolds in a deliberately traditional, lovingly crafted children’s film.

We first see Leigh (Frankie Box), the cheeky heroine of Scottish writer-director Eva Riley’s debut feature Perfect 10, hanging upside down during a gymnastics workout.

Seth Rogen offers up double the laughs by taking on both lead roles in a time-hopping, Rip-Van-Winkle screwball comedy, but with an oddly mixed conservative message about the merits of family and religion.

Belgian filmmaking duo the Dardenne Brothers have long been darlings of Cannes Film Festival, winning awards for hardhitting dramas like La Promesse, Le Silence de Lorna and The Kid with the Bike. Their latest offering Young Ahmed is no different, a domestic terrorist tale which won them Best Director at 2019’s festival.

This sober French space movie is concerned with what a female astronaut leaves behind on Earth, not what she finds in the cosmic dark. Sarah (Eva Green) has been selected for a European Space Agency mission towards Mars, realising a childhood dream. Punishing training prepares her for separation from Earth, and from eight-year-old daughter Stella (Zelié Boulant-Lemesle).

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.