Based on the best-selling pair of memoirs from father and son David and Nic Sheff, Beautiful Boy chronicles the true and inspiring story of survival, relapse and recovery in a family coping with addiction over many years.

Emma Thompson gives a stunning performance as High Court Judge Fiona Maye, presiding with wisdom and compassion over ethically complex cases of family law in the UK. But she has paid a heavy personal price for her workload, and her marriage to American professor Jack (Stanley Tucci) is at a breaking point. In this moment of personal crisis, Fiona is asked to rule on the case of Adam (Fionn Whitehead), a brilliant boy who is refusing the blood transfusion that will save his life. Adam is three months from his 18th birthday and still legally a child. Should Fiona force him to live? Fiona visits Adam in the hospital and their meeting has a profound emotional impact on them both, stirring strong new emotions in the boy and long-buried feelings in her.

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A critical and audience favourite at this year’s Cannes Film Festival (where it was awarded the Best Director prize) and already touted as a major 2019 Oscar contender, Paweł Pawlikowski’s follow-up to the Academy Award-winning Ida is a ravishing, music-fuelled romance charting two mismatched lovers caught between East and West in 1950s Europe. In the ruins of post-WWII Poland, pianist Wiktor (Tomasz Kot) is commissioned by the Soviet state to form a musical ensemble to help rekindle national pride. Whilst touring the villages in search of talent he meets the beautiful Zula (Joanna Kulig, in a luminous star-making turn), a fiery and charismatic singer with a past, and the two fall passionately in love. When a performance in Berlin offers the pair an opportunity for escape to the West, a last-minute decision finds them stranded on either side of the Iron Curtain. As the years march on, Wiktor and Zula – whether through political circumstance or personal impetuosity – struggle to find their moment in time… Spanning 15 years across Warsaw, Berlin, Paris and Yugoslavia, and inspired by the lives of the director’s own parents, COLD WAR meticulously recreates the era with virtuosic black-and-white cinematography, and an extraordinary soundtrack that is used judiciously to signify the passage of time and shifting relationships. Warmly lyrical, impossibly romantic and visually stunning, COLD WAR is one of the films of the year.

The film is set in 1930s depression-era London (the time period of the original novels) and is drawn from the wealth of material in PL Travers’ additional seven books. In the story, Michael (Ben Whishaw) and Jane (Emily Mortimer) are now grown up, with Michael, his three children and their housekeeper, Ellen (Julie Walters), living on Cherry Tree Lane. After Michael suffers a personal loss, the enigmatic nanny Mary Poppins (Emily Blunt) re-enters the lives of the Banks family, and, along with the optimistic street lamplighter Jack (Lin-Manuel Miranda), uses her unique magical skills to help the family rediscover the joy and wonder missing in their lives. Mary Poppins also introduces the children to a new assortment of colorful and whimsical characters, including her eccentric cousin, Topsy (Meryl Streep).

The charming town of Mêle-sur-Sarthe, Normandy, is in crisis. Dairy and livestock prices have plummeted due to a flood of imports, and farmers are threatened with foreclosure. Mayor Georges Balbuzard (the irrepressible François Cluzet, beloved from The Intouchables and The Country Doctor) does his best to fight and raise awareness of their plight, but the situation isn’t deemed newsworthy for national media. Things seem hopeless… until the day famous American photographer Newman (Toby Jones) passes through the village, inadvertently discovering the perfect backdrop for his next shoot. Balbuzard sees a rare opportunity, and sets about convincing the townsfolk – the farmers, the butcher, the pharmacist, some 200 in all – to participate. But, there’s a catch… Philippe Le Guay’s wonderful ensemble delivers a memorable portrait of community, resilience and fraternité, , and a hugely enjoyable experience for film-lovers of all shapes and sizes.

All Clara (Mackenzie Foy) wants is a key – a one-of-a-kind key that will unlock a box that holds a priceless gift from her late mother. A golden thread, presented to her at godfather Drosselmeyer’s (Morgan Freeman) annual holiday party, leads her to the coveted key—which promptly disappears into a strange and mysterious parallel world. It’s there that Clara encounters a soldier named Phillip (Jayden Fowora-Knight), a gang of mice and the regents who preside over three Realms: Land of Snowflakes, Land of Flowers and Land of Sweets. Clara and Phillip must brave the ominous Fourth Realm, home to the tyrant Mother Ginger (Helen Mirren), to retrieve Clara’s key and hopefully return harmony to the unstable world. Starring Keira Knightley as the Sugar Plum Fairy and featuring a special performance by Misty Copeland, Disney’s new holiday feature film “The Nutcracker and the Four Realms” is directed by Lasse Hallström and inspired by E.T.A. Hoffmann’s classic tale.

A Japanese couple stuck with part-time jobs and hence inadequate incomes avail themselves of the fruits of shoplifting to make ends meet. They are not alone in this behaviour. The younger and the older of the household are in on the act. The unusual routine is about to change from care-free and matter-of-fact to something more dramatic, however, as the couple open their doors to a beleaguered teenager. The reasons for the family and friends' habit and their motivations come under the microscope.

SPECIAL 'Girls Night' PRE-RELEASE SCREENING

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MARY POPPINS RETURNS screens 3 times daily at Pivot Cinema from New Year's Day.

A story of family and estrangement set amid the alien landscape of Australia’s opal mines.

Melina is making the 18-hour bus journey to be with her estranged, ailing father. He’s one of the lost, lonely men who hunt for black opals, deep in the Australian outback. She’s not entirely sure why she’s there, or why she stays, but as Melina is drawn ever further into the community, she discovers that there’s more to these men than she first assumed – and perhaps even more to herself.

A compelling and unique drama, where most of the characters are played by actual opal miners, Strange Colours is the assured, visually gorgeous feature debut from writer/director Alena Lodkina.

Developed through the Venice Film Festival's Biennale College, Lodkina has made an effortless transition to feature filmmaking, producing a hypnotic dusky reverie, filled with quiet grace and power, that revels in the unique landscape of the Australian outback.