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Gela Babluani’s feature-length début could be the best film you will see all year. Shot in glorious black and white, 13 Tzameti takes the old thriller paradigm (one room, two people, and a gun) to a whole new level.

A fresh treatment invigorates Conversations With Other Women’s potentially conventional subject. A man and a woman (Aaron Eckhart and Helena Bonham Carter) meet at a wedding reception. They begin some sharp comic banter with the effervescence of a good champagne. She jokes that she was the seventh choice for bridesmaid, called only after one of the choices was unable to come.

Inspired by the Columbine High School massacre, Gus Van Sant takes a dreamily unconventional approach to an explosive subject. Survivors of such high school slayings often recount the event as standing outside time or logic: It was like a dream, like time stood still. That’s exactly what the camerawork here captures.

Almodóvar’s new tale of loss, grief and regeneration is a dazzling entertainment of considerable formal and emotional sophistication that outshines the superficiality of most of his earlier work.

A once artistically ambitious photographer, now sullen and cynical, agrees to lodge a cousin from his native village who has come to Istanbul looking for work.

Galoup, a sergeant-major in the foreign legion, now dishonoured and living in Marseilles, recalls his sunnier days training recruits in a colonial outpost.

While ostensibly a documentary profile of a lion tamer, a topiary gardener, a researcher of the naked mole rat, and a robot inventor, Errol Morris’s film is actually a brilliant essay on human consciousness.

Needy human animals straining against the leash of emotional expectations make Mike White’s low-key Year Of The Dog more situation tragedy than situation comedy.

The film begins with Morvern waking to find her aspiring novelist boyfriend dead on the kitchen floor. The reason for his suicide is as mysterious as Morvern’s reaction to it. Is she in shock? Has she entered some sort of fugue state? The film is refreshingly free of motivation as we watch Morvern continue matter-of-factly with her mundane life as a supermarket clerk.