Days of Grace – review Everardo Gout's ambitious debut revolves around three violent incidents set during three World Cups, writes Philip French
Days of Grace – review When the football World Cup is on, Mexico's criminals and cops suspend hostilities – ordinarily. By Peter Bradshaw
Viramundo – review Peter Bradshaw reviews a documentary that follows Brazilian music's elder statesman Gilberto Gil to meet indigenous peoples
Mira Nair boycotts Haifa film festival Monsoon Wedding director says she will visit Israel only when 'apartheid is over'
Wadjda – review A girl's longing for a bike illuminates the lives of Saudi women in the country's first feature film directed by a woman, writes Philip French
Mark Kermode’s DVD round-up Ginger Baker comes across as largely charmless in Beware of Mr Baker, which is what makes it such a compelling documentary, writes Mark Kermode
Easy Money – review Double-crossing and muddied morality are rife in a relentless Swedish crime thriller brought to the UK by fan Martin Scorsese, writes Philip French
Blue Is the Warmest Colour will not qualify for foreign language Oscar Palme d'Or-winning film ineligible for award as it will be released too late in native France
Les Invisibles – review A documentary about gay people's lives in France is both moving and revealing, writes Philip French
Chronicle of a Summer Philip French's classic DVD: Jean Rouch and Edgar Morin's experiment in cinéma vérité offers up an intriguing snapshot of 1960 Paris
Blancanieves – review A young woman is adopted by bullfighters in this charming cross between Snow White and Carmen, writes Philip French
Play – review A portrait of the tensions between black and white teenagers in Gothenburg leaves Philip French feeling uneasy
Nicolas Winding Refn: I am a pornographer Only God Forgives, the Danish director's follow-up to Drive, is even more violent. Is he revelling in sexual brutality? Interview by Andrew Anthony
Les Invisibles – review The gay rights movement in France as experienced by its (now-elderly) footsoldiers is here given a respectful account, writes Xan Brooks