French director Jacques Audiard brings us the musical Emilia Pérez, an admirable swing and a spectacular miss that everyone will have an opinion about.

Adulthood and milk are equally curdled in Louise Courvoisier’s feature debut Holy Cow.

Catholic voting is more thrilling than expected in Edward Berger’s papal picture, Conclave.

A shotgun wedding to the son of a Russian oligarch goes (unsurprisingly) poorly in Sean Baker’s Palme d’Or winner Anora.

Australian hybrid filmmaker Gabrielle Brady blends documentary and fiction with The Wolves Always Come At Night, a piece of work that should speak to anyone with any semblance of a soul.