When a solitary writer adopts and bonds with a Great Dane that belonged to a late friend, she begins to come to terms with her past and her own creative inner life.

In the Welsh town of Port Talbot, 1942, Richard Jenkins lives as a wayward schoolboy, caught between the pressures of his struggling family, a devastating war and his own ambitions. However, a new opportunity arises when Richard’s natural talent for drama catches the attention of his teacher, Philip Burton.

Nicholas and Isabel were made for each other but how will they ever know it? As ghosts, fate and the sheer power of true love pull them together, so too does life threaten to tear them apart.

After winning the lottery, the life of the happy winner turns into a nightmare. The movie consists of four separate stories divided into five parts. They tell the different stages of the winner's life, from discovering the reward to witnessing the consequences caused by the prize.

In this extraordinary story of an ordinary man, Charles 'Chuck' Krantz experiences the wonder of love, the heartbreak of loss, and the multitudes contained in all of us.

nspired by remarkable true events, acclaimed writer/director Pascal Bonitzer’s sharp and hugely engrossing new dramedy THE STOLEN PAINTING follows a self-assured auctioneer whose professional and personal integrity is challenged by the discovery of a long-lost masterpiece. Paris, present day. Brash 40-something André Masson (César Award-winner Alex Lutz), a hotshot modern art appraiser at prestigious high-end auction house Scottie’s, receives word that a painting by Egon Schiele may have been found in a young factory worker’s home in the Alsatian city of Mulhouse. Though highly sceptical, André travels to view the canvas with his ex-partner Bettina (the superb Léa Drucker, Custody) who is also an expert valuator, only to be convinced of its authenticity as a masterwork long assumed destroyed by Nazi officials during WWII.

The confident and remarkable debut from writer and comedian Eva Victor made waves at Sundance, heralding a new voice of exceptional talent. Told in nonlinear chapters, it follows five years in the life of Agnes (expertly embodied by Victor), who’s introduced to us as a wry and intelligent young English professor. The film traces her transition from grad student to tenure, but also the before and after of a sexual assault. As she navigates the healing process Agnes is supported by her sprightly best friend, Lydie (Naomi Ackie, Mickey 17), along with an endearingly awkward neighbour (Lucas Hedges, Ladybird, Boy Erased) and a sweet stray kitten. “The film’s tone is a real balancing act,” says Victor, “one that hopefully feels true to life – funny, with pain. Painful, with funny parts.” Their sharp-eyed script creatively circumvents representing the unspeakable while applying a darkly comic wit to difficult subject matter, deftly revealing the absurdity of systems that neglect its victims.

Brazil, 1977. It is a “time of spite” for the country as the harsh military dictatorship imposes increasingly draconian measures on the population. Marcelo (Moura), a university professor, is on the run from the regime and takes refuge in Recife, where he hopes to reunite with his son. There, during the week of the Carnaval, he finds a safe haven with a group of outsiders, and takes on an assumed identity. But Marcelo can’t forget that he’s a wanted man – and soon enough he feels the tentacles of the state closing in on him. With all the tension of the best political thrillers, Mendonça Filho brings his trademark melange of styles (and his deep cinephilia) to the picture. The Secret Agent involves body horror, wicked humour, and eroticism, all playing out to a typically tremendous soundtrack. In this detailed, vibrant and expansive portrait of tumultuous time in Brazil’s history – filled with unforgettable, brave characters - Mendonça Filho has made an intoxicating film that is powerfully resonant with our times.

Despite a range of obstacles, from banning orders to imprisonment, Panahi remains unfailingly resolute in his determination to make films. “I’m a filmmaker. I can’t do anything else but make films,” he says. It Was Just an Accident begins with a family traveling on an isolated road, where an unfortunate bump in the road leads to their car being slightly damaged. At the repair shop in the middle of the night, a worker observes something that triggers a memory with immense repercussions. With his new film, Panahi reimagines the Iranian road movie, taking the audience on a thrilling and devastating emotional rollercoaster involving a great ensemble cast. As Panahi says: “I don’t make political films, I make humanistic films.” Here he is at his most humanistic – presenting us with characters whose circumstances might well be very different from our own, but whose dilemmas, and choices between forgiveness and retribution, immerse us fully.