Thibaut is a successful conductor, recently diagnosed with leukaemia. His best hope for survival is a bone marrow transplant from a suitable family donor. His sister takes the test, but the results lead to the revelation that Thibaut was actually adopted as a child - and that he has a secret biological brother, cafeteria worker Jimmy. The two brothers meet and discover a shared passion for music, and before long form a strong bond via an unexpected collaboration with Jimmy’s workplace marching band…

The Marching Band is a delight - a French comedy-drama that’s as funny as it is heartwarming. Boasting a pair of charismatic leading performances from Benjamin Lavernhe and Pierre Lottin, director Emmanuel Courcol’s new film is a real winner.

Cannes Film Festival 2024

Dublin International Film Festival 2025

Nurse Floria clocks in for a late shift in a busy but understaffed ward. She attempts to juggle the needs of all her patients and their families - from siblings awaiting news of their seriously-ill mother, to a wealthy patient demanding private care. As the evening wears on, the pressure begins to get to Floria - and a simple but potentially grave error pushes her over the edge.

Leonie Benesch (The Teachers’ Lounge) gives a stellar performance in Petra Volpe’s (The Divine Order) new film. This is a tense, grounded and compassionate look at the reality of modern nursing, which also serves as a passionate plea for all staff and patients to receive the resources and support they deserve.

Berlin International Film Festival, 2025

128 mins, UK / India / Germany / France, 2024, Cert: 15A

Director: Sandhya Suri

Language: Hindi

Cast: Shahana Goswami, Sunita Rajwar, Nawal Shukla

Leni Riefenstahl is considered one of the most controversial figures of the twentieth century. Her films Triumph des Willens (Triumph of the Will) and Olympia epitomise perfectly staged body worship and the celebration of the superior and victorious. At the same time, these images project contempt for the imperfect and weak. Riefenstahl’s aesthetics are more prevalent today than ever—but does the same hold true for their underlying message? The film explores this question using documents from Riefenstahl’s estate, including private films, photos, letters, and recordings. It uncovers fragments of her biography and places them within a broader historical context. How could Riefenstahl rise to become the Reich’s leading filmmaker while persistently denying any close ties to Hitler and Goebbels? In personal documents, she laments her “murdered ideals.” Riefenstahl reflects many post-war Germans who, through letters and recorded telephone calls from her estate, yearn for an authoritative figure to restore order to the “shit-hole state”. They believe that this restoration could bring about a renaissance of her work—a possibility that might come to fruition in a generation or two. What if they are right?

Ángela, a deaf woman, and Héctor, her hearing partner, are in a loving, solid relationship, using sign language and lip reading to communicate. When Ángela becomes pregnant they are both very excited. However, the question of whether their baby will be deaf or hearing charges an unexplored tension between the couple.

After a complicated, emotionally intense labour, their daughter, Ona, is born. It is revealed she can hear, forcing Ángela to come to terms with raising a daughter who may not share her experience of the world. As Ona and Hector gravitate towards each other, communicating with their voices, Angela is left feeling frustrated and isolated.

Eva Libertad’s debut feature is a tender, moving and brilliantly acted drama.

Berlin International Film Festival 2025

Edinburgh International Fillm Festival 2025

Winner -  Panorama Audience Award, Eva Libertad, Berlin International Film Festival 2025

 

Jessica, Perla, Julie, Ariane and Naïma are housed in a shelter for young mothers.

The intersecting lives of these five teenagers hoping for a better life for themselves and their babies forms the subject of this beautiful and poetic film from the Dardennes.

The film is a true-to-life portrait of the struggles faced by these young women living on or near the margins of society.

With typical precision and grace, this richly moving new film builds on a body of humane work from the two great masters of social realist cinema. This is direct, emotional cinema with a compassionate approach to those portrayed, resulting in a film that is not only deeply affecting, but one that is sympathetic and nuanced.

Edinburgh International Film Festival 2025

Cannes Film Festival Film 2025

Winner – Best Screenplay, Jean-Pierre Dardenne, Luc Dardenne - Cannes Film Festival 2025

“★★★★★  There is such simplicity and clarity here, an honest apportioning of dignity and intelligence to everyone on screen: every scene and every character portrait is unforced and unembellished.”

-Peter Bradshaw, The Guardian

“This is a hopeful movie, not a depressing one. Even so, it tugs at you, long after the last frame."

-Stephanie Zacharek, TIME Magazine

“Thanks to the strong work from the young cast, the film has a cumulative power and a heartening message of resilience and optimism.”

-Wendy Ide, Screen International

Una (Elín Hall) and Diddi (Baldur Einarsson) are cool kids and lovers attending art school in Reykjavík, Iceland. He’s tall and good-looking; she’s an elfin variation on Annie Lennox’s androgynous 1980s years.

They have dreams. He wants to visit Japan; the well-travelled Una will settle for the Faroe Islands. As day dawns he promises to break up with his long-distance girlfriend and childhood sweetheart, Klara (Katla Njálsdóttir).

Except he never gets there. En route he falls victim to a dramatic and fatal tunnel explosion. Icelandic flags are later flown at half-mast, an image that gives the same sorrowful quality that WH Auden’s Funeral Blues once brought to Four Weddings and a Funeral.

Rúnar Rúnarsson condenses the funeral experience into a single day in this emotionally astute drama, a much-admired contender at Cannes in 2024. Composed of small gestures and unspoken truths, it’s a bonsai miniature of the vastness of overwhelming grief.

Co-writers and co-stars Tomasden and Tim Key, alongside director James Griffiths, have delivered a winning crowd-pleaser with The Ballad of Wallis Island. With a perfect mix of humour and poignant character work, this film is a total charmer.

 

Sundance Film Festival, 2025

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“★★★★ It’s a love story and a bromance elevated by the actors' superb comic timing and a sense of wonder.” - Anthony Cecil, The Arts Desk

“The Ballad of Wallis Island is the best kind of crowd-pleaser: disarming, joyful and full of compassion for its oddball characters.” - Tomris Laffly, Variety

“★★★★ Warm, perceptive and quietly life-affirming… a big-hearted, consoling hug of a movie.” - Ian Freer, Empire Magazine