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The Lion Has Seven Heads review – a fierce revolutionary leftist bad dream from 1970

With its white-robed preacher striding through Congo-Brazzaville, this denunciation of imperialism from Brazilian director Glauber Rocha is very much of its time

Stop-Zemlia review – tender Ukraine teen drama is unbearably poignant

Director Kateryna Gornostai’s documentary-like film, originally released in 2021, has assumed a heartbreaking new significance since Russia’s invasion of Ukraine

Nostalgia review – joy and danger await in a Naples homecoming

A man returns to his birthplace in Mario Martone’s evocative but waywardly plotted drama

Spanish film-maker Carlos Saura, director of ¡Ay Carmela!, dies aged 91

One of Spain’s most prolific auteurs continued to work until the end – his last film, Walls Can Talk, was released last week

Saint Omer review – Alice Diop’s compelling courtroom drama

The French director draws on her own experience in this story of a writer sitting in on the trial of a woman accused of murdering her own baby

Saint Omer review – witchcraft and baby killing in extraordinary real-life courtroom drama

Alice Diop’s unnerving fiction feature is based on the true case of a Senegalese immigrant accused in the French court of murdering her 15-month-old daughter

EO review – an innocent donkey leads the way in surreal Bresson-inspired ride

Life is seen through the eyes of a put-upon beast of burden in this beautifully photographed homage to Au Hasard Balthazar by the veteran Polish director Jerzy Skolimowski

A Human Position review – elegantly restrained Norwegian drama

Nothing much happens, but less is more in Anders Emblem’s quiet tale of a traumatised journalist

Mostly Martha is a feast of a film – and the US remake is a dog’s dinner

More people have probably seen No Reservations, starring Catherine Zeta-Jones, but the original German film is charming and better in every way

Nascondino (Hide and Seek) review – remarkable documentary about a Neapolitan street kid

For four years, Victoria Fiore follows bright, personable Entoni, at the mercy of Italy’s new law concerning children from organised crime families

Holy Spider – prurient Iranian serial killer drama

Based on the real-life case of a man who murdered 16 women, Ali Abbasi’s tense film feels at once timely and dehumanising

More Than Ever review – thoughtful drama about how to die well

Vicky Krieps shows her emotional range as a woman taking ownership of terminal illness in Emily Atef’s sensitive film co-starring the late Gaspard Ulliel

Holy Spider review – Iranian crime thriller takes real case and makes it implausible

Twenty years after a serial killer murdered 16 sex workers in Mashad, Ali Abbasi has made a fictionalised account of his capture and trial

More Than Ever review – dying Vicky Krieps acts up a storm in end-of-life drama

Krieps and the late Gaspard Ulliel bring great conviction and intelligence to this unlikely tale of a woman’s last adventure

The Substitute review – vehement inspiring-teacher thriller is all a bit Mr Chips

A poet in Buenos Aires takes up teaching at a tough school and tries to protect his students in Diego Lerman’s cliched, if well-acted, tale

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  • ‘A joyful place’: a new museum coaxes Austrians to embrace The Sound of Music
  • NAZA film-makers address threats at documentary’s New York City premiere
  • Godzilla Minus Zero review – spectacular Japanese action continues franchise’s winning streak
  • Always a joker: Magda Szubanski reveals Heath Ledger asked to play her stalker on Kath and Kim
  • ‘In our deepest hearts we are voyeurs’: the paedophile-hunting show that inspired Robert Pattinson’s new film
  • Meryl Streep’s casting as Aslan has angered the Christian right. Don’t they have more pressing issues?
  • ‘She never accepted no’: Liam Neeson on dogged heroine behind Tuam mass baby grave film
  • My dad was a monster! Sara Karloff on reviving Frankenstein, 95 years on
  • Susan Sarandon and Hannah Einbinder arrested at anti-Netanyahu protest in New York
  • ‘Cracking auction, Gromit!’ Original Aardman puppets go under the hammer
  • Bob Mackie obituary
  • ‘I get lost going to the bathroom’: John Hannah on world travel, stealing props and being ‘the Scottish Eminem’
  • Global release announced for acclaimed Gaza documentary NAZA
  • Post your questions for Zach Braff
  • Greek epics, gory obsessions and awkward invites: where does this year’s Oscars race stand?
  • ‘I’m a writer but then nobody’s perfect’: how Billy Wilder conquered Hollywood
  • Forgotten Island review – best friends forever trapped in frantic DreamWorks animation
  • Twenty years after An Inconvenient Truth, Al Gore still believes in the climate fight: ‘We are going to win this’
  • ‘He made something every single day’: David Lynch’s inscrutable photography celebrated in LA show
  • Manhunter review – Michael Mann serves up a bold and queasy starter to the serial killer spectacle
  • Boorman and the Devil review – enjoyable re-evaluation of the disaster that was Exorcist II: The Heretic
  • Another taste of honey: Shelagh Delaney’s long-lost play about a teenage truant is a little gem
  • North Sea, Nature Untamed review – stunning footage finds the beauty and splendour under the water
  • The Love Hypothesis review – hit BookTok romcom lacks spark on screen
  • Remake review – Ross McElwee’s magnificent and moving tribute to a tragic loss and the art it inspired
  • Post your questions for Miranda Richardson
  • Great to see what Tom Cruise’s belly button looks like, but it’s the stuff he is never asked about that interests me
  • Heart of the Beast review – Brad Pitt survivalist dogmance serves up wilderness with side of cheese
  • Heresy review – feminist folk horror summons something scary in the woods with supply of fresh blood
  • Shadows of Beirut review – chaos and crisis as woman goes back to birth city in fractured Covid-era drama

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