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When a tragedy occurs that profoundly impacts on "Manuela" (Cecilia Roth) she heads back to her old home in Barcelona to reunite with her estranged transgender husband (Toni Cantó) and share her bad news. Her arrival in the city sees her reconnect with her transvestite pal "Agrado" (the outstanding Antonio San Juan) and that's the start of her enjoyably characterful journey through the city where her innate kindliness also sees encounters with many of the quirkiest of it's residents - including "Sister Rosa" (Penélope Cruz) who happens to be a pregnant nun - and you'll never guess who the father is! There's also a struggling actress "Huma" (Marisa Paredes) who is having the wobbles ahead of a performance of "A Streetcar Named Desire" as well as some troubles with her younger pal "Nina" (Candela Peña) whose habit is starting to get a bit out of control. If you look at the all of the ingredients here, it can seem a little contrived but the combination of a forceful and powerful effort from Roth and some creative flair from an on-form Pedro Almodóvar manages to create a series of scenarios that flow effortlessly from the seemingly sublime to the ridiculous whilst raising a few smiles along the way and dealing with some serious topics, like Alzheimer's, grief and identity issues along the way. The photography is intimate and almost as mischievous as the writing that makes a series of points succinctly yet without ever becoming sentimental or sanctimonious. Team Almodóvar at it's best, here.

It's early 1970s Britain and "George" (Om Puri) has been running his chip shop in Salford for many years since leaving his home (and wife) in Pakistan. Not long after he arrived after the war, he met and married "Ella" (Linda Bassett) and they've had half a dozen children, many of whom are now starting to become eligible for the marriage game. Though he has integrated, up to a point, he is determined to ensure that the traditions of his homeland and his faith are continued with his children. They, on the other hand, are British through and through and over the course of the next ninety minutes we see just how, in various fashions, they begin to rebel against their father's increasingly puritanical and occasionally violent behaviour towards them and their mother. All against the background of Enoch Powell espousing his "rivers of blood" philosophy, things in this tightly knit family come to an head when the parents of prospective wives/daughters-in-law arrive for a family conference and the wheels all start to come off. It's a very dark comedy this, and it captures the clashes of cultures and sexes entertainingly as well as quite potently at times. The actors playing the siblings deliver competently enough, but it's the young snorkel-jacket wearing "Sajid" (Jordan Routledge) who steals the scenes as his youthfulness gives his character (and us) an unique observation point from which to watch his family turn from two adults with children into one all adults and just two children. It takes a swipe at arranged marriages, pride, snobbery and bloody-mindedness but it also pays respect to the older man's traditions and illustrates with a degree of sympathy just how difficult he found it to adapt to the profound changes that were emerging around him and about which he had a frustrating lack of control. It's not exactly laugh out loud funny, but it's still an enjoyable and pithily scripted and delivered film that has more than a ring of truth to it.

When a former British Paratroop Regiment soldier (Paddy Considine) returns to his home town in rural Derbyshire after his tour of duty, he is determined to avenge his young brother (Toby Kebbell) whose learning difficulties made him the frequent butt of the bullying from local hoodlum "Sonny" (Gary Stretch) and his pals. It was one afternoon when things got completely out of hand that has fuelled this quest for revenge, and so "Richard" sets about meticulously planning to use their own tools to bring about their downfall. What ensues is effectively devoid of dialogue, it really just focuses on this man's psychological warfare with his quarry. It's a game of cat and mouse with him in plain sight - they know he is there, they know what he wants and as his plans start to take effect their terror and panic becomes more manifest and desperate. What's a bit different about this thriller is the palpable sense of guilt "Richard" displays towards his brother whom we know was wholly dependent on him from their childhood - things we learn from flashbacks. It's brutal and violent, but it's also clever and menacingly calculating, too, as it challenges some established perceptions of masculinity and at times the photography puts us unnervingly close to the unfolding scenario - a scenario that doesn't quite run as you might have expected and that showcases just how bullies work and at how their sheer force of personality can lead others to just go with the flow, regardless of their own reservations. It's not an easy watch, but Considine brings a considerable screen presence here and it's a fairly savage indictment of how cruel people can be.