birkeneds

This film does not fit neatly into the established cinematic genres, which may account for some of the negative reaction it has received. Its narrative is in turn grotesque, bizarre, comic and tragic - and perhaps Lanthimos has begun to create a new kind of film - the cinema of the absurd. For some, this could take some getting used to as its sequencing will be unpredictable and its tone sometimes uncomfortable.

There is no doubt that the three central performances are of the highest quality, and Coleman in particular is inspired in her portrayal of the lost soul that is Queen Anne. It's not always easy to feel empathy for a monarch, but this was deftly achieved and deserves acclaim and awards.

The cinematography is perfectly pitched and frames the bestial dysfunctionality of the court - around each corner and in every nook and cranny the rich and powerful (mainly men) are behaving like spoilt children, debauching themselves in the shadow of the queen's weakness. The other main protagonists - Sarah and Abigail - are more ambitious, determined and focused in their exploitation of the situation. Nature abhors a vacuum, and Queen Anne's troubled isolation creates one. Meanwhile, outside the palace, there are murmurings of public unrest.

In its unique way, The Favourite is an evocative portrayal of a particular time and space in English history with an exploration of the dynamics of power and their interplay with sexuality.

If the skill of the Director is to create space for the viewer to think, feel, reflect and re-consider, then Hirokazu Koreeda has achieved this with quiet triumph in Shoplifters. The portrayal of the complex, loving and subtle relationships between the main characters - who live together in poverty - is reminiscent of the writing of John Steinbeck in Cannery Row and Tortilla Flat. Our assumptions on how they have come together and how their relationships play out are progressively challenged, and are seen through a variety of lenses. The ultimate impact is both moving and intriguing and a great tribute to the craft of the Director and the talent of the cast.

This film bears witness to the story of Wilfred Owen and his contemporaries with fresh insight and empathy. The senseless brutality of World War 1 is strikingly juxtaposed with Owen's personal journey of enlightenment, and in particular with his creative and loving relationship with Siegfried Sassoon. The writing, direction, cinematography, production and above all the acting are consistently superb, and the synergy they create is seamless and at times exquisite.

Through re-imagining the remembrance of Owen's life, The Burying Party has resonance and relevance for the here and now, and should be experienced by as wide an audience as is possible.