Less a portrait of a musician/creative artist/feminist icon and more a portrait of a friendship, Marie Losier’s Peaches Goes Bananas, which has been a hit across the festival circuit from Venice to Glasgow to Flare, is an extraordinary piece of filmmaking. Shot over 17 years, it mingles intimate personal moments with visceral concert footage, its musical sequences knitted together with some of the best editing you’re likely to see this year.

For all the delight she takes in costume, Peaches (her given name is Merrill Nisker but she uses her stage name just as readily with friends) is not somebody who feels a need for glamour, and her willingness to be seen just as is adds an extra layer to the film. It’s rare for us to see bodies – especially female ones – in this very direct way as they change over time, and rare too to.