Mira Grosin: school, football… and a movie on the side
The star of Lukas Moodysson's new film, We Are the Best!, talks to Richard Orange about landing a movie role at the age of 11
The King and the Mockingbird review – ‘A richly conceived treat’
Peter Bradshaw: This beautiful reissued French animation draws on Fritz Lang and seems to prefigure the style of Japanese anime
Crows review – Child kidnap turned into dreamy cinema
Peter Bradshaw: Dorota Kedzierzawska's strange film, in which a love-starved girl snatches another child, eschews the horror of the situation
Willow and Wind review – A unique childhood fable from Iran
Peter Bradshaw: A boy's quest to repair the school window he broke with a football is a trance-like wonder that beautifully conveys the vulnerability of childhood
The Lunchbox director on India’s new taste for realism
Ritesh Batra's unassuming debut film isn't big on action, melodrama or tunes, yet it has become a surprise box-office phenomenon, says Nosheen Iqbal
Tom at the Farm (Tom à la Ferme) review – ‘Disorientatingly strange’
The latest offering from wunderkind Xavier Dolan makes a pleasant change. It's disciplined and intriguing, writes Peter Bradshaw
The Past review – a whirlwind of warring emotions | Mark Kermode
Bérénice Bejo is outstanding in Oscar-winner Asghar Farhadi's rich study of people trapped in physical and emotional limbo, writes Mark Kermode
My Stuff review – ‘A sort-of Super Downsize Me’
Petri Luukkainen's meditation on possessions and attachment has moments of rare enlightenment, writes Mike McCahill
The Past review – ‘Its severity and cerebral force are beyond question’
A Separation director Asghar Farhadi confirms his place among cinema's true grown-ups with a pressure cooker of a relationship drama. Prepare yourself for post-film debate, writes Peter Bradshaw
Salvo review: ‘A fascinating, stylised drama’
White-knuckle action coupled with eerie, atmospheric pacing makes this film about the Sicilian mafia an intriguing watch, writes Peter Bradshaw
Salvo review – an ‘ambient thriller’ where style leads substance
What this well-crafted Sicilian mafia drama lacks in dialogue it more than makes up for in atmosphere, writes Jonathan Romney
The Robber review – improbable tale of an Austrian bank robber turned runner
Based on a true story, Benjamin Heisenberg's drama about a monomaniacal con turned marathon runner still strains credulity and patience, writes Leslie Felperin
Rome, Open City review – ‘The most precious moment of film history’
Rossellini's study of resistance, shot in war-ravaged Rome in 1945, is a masterpiece, writes Mark Kermode
Rome, Open City review – ‘Thrillingly real wartime drama’
Roberto Rossellini's Rome is dazed, disoriented and at the mercy of Nazis in this classic of neorealism, writes Peter Bradshaw
The Great Beauty wins best foreign language film Oscar
Italian study of Rome high society, directed by Paolo Sorrentino, takes Academy award