Fresh from taking out the Grand Prix award at Cannes, widely celebrated two-time Academy Award winning Iranian director Asghar Farhadi is back with a new complex morality tale that many are calling his best since the Oscar Winning A Separation. A richly textured take on gossip, social media and public perception, A HERO follows Rahim (the brilliant Amir Jadidi) a down and out calligrapher who is stuck in prison for a debt he is unable to pay. When he is unexpectedly granted a two-day release, Rahim is presented with a golden opportunity to pay off his debt and secure his freedom. But much like life itself, things don’t go as planned. In what is a Farhadi house style, moral conundrums suddenly abound. One simple decision sees Rahim celebrated, but quickly people, including importantly his creditor, begin to question the humble prisoner’s story. Tense, unpredictable and darkly funny, the drama that ensues is vintage Farhadi – all the way to the final scene. A frequent entry in many major outlet’s top 10 lists, the master auteur has once again made one of the most eagerly anticipated cinematic gems of the year.

Acclaimed director François Ozon and cult actress Sophie Marceau are teaming up for the first time, bringing to the screen a moving father-daughter story. When Andre, 85, has a stroke, his daughter Emmanuèle hurries to her father’s bedside. Sick and half-paralyzed in his hospital bed, he asks Emmanuèle to help him end his life. But how can you honour such a request when it’s your own father? Everything Went Fine, the new film from François Ozon based upon the novel “Everything Went Well” by Emmanuèle Bernheim, premiered in competition at the 2021 Cannes Film Festival, earning praise from audiences and critics alike. “Everything Went Fine abounds in this kind of fragile, viciously knotted family drama, though Ozon’s candid, often bluntly funny screenplay keeps it at a low temperature throughout.” - Variety

Gina is not feeling fabulous. She has lost her job and feels stuck and frustrated in a passionless marriage. She has always lived life on the sidelines – that is, until she is met with the groundbreaking business opportunity of converting a team of well-built moving guys into well-built housecleaners. Initially the response from her ocean-swimming community is immediate, and her all-male cleaning staff an instant hit. Finally, she is the boss she has always wanted to be. But, as her business booms, her clientele demands something more – sex, or better yet, pleasure. Faced with something far more than she imagined, Gina and her team, including her foodie manager Steve, launch an enterprise that is all about getting intimacy right between people. For the first time, the women experience desire on their own terms. As Gina faces the highs and lows, the joys and struggles of maintaining such a unique business, she learns to stand up for herself, to look out for her own happiness and pleasure, and to take control of her life. HOW TO PLEASE A WOMAN is a precarious, often hilarious and revealing journey into the vulnerable world of what women really want and how hard it can be to get it right.

The much-anticipated latest treasure from Céline Sciamma (Portrait of a Lady on Fire, Girlhood), PETITE MAMAN is a sublime modern fairytale about the quiet wonder of mother-daughter relationships. After the death of her beloved grandmother, eight-year-old Nelly meets a mysterious friend in the woods. Together they embark on a fantastical journey of discovery which helps Nelly come to terms with this newfound loss. A favourite of the 2021 Berlin Film Festival, Sciamma’s new masterwork examines childhood, memory, and loss with a typically delicate touch, elegantly weaved together into an enchanting and moving depiction of love and acceptance.

The Drover’s Wife The Legend of Molly Johnson is a reimagining of Leah Purcell’s acclaimed play and Henry Lawson’s classic short story. A searing Australian western thriller asking the question: how far do you go to protect your loved ones? Molly Johnson’s husband is away droving cattle, leaving her alone to care for their four children at their remote Snowy Mountains homestead. Despite being heavily pregnant, Molly keeps various threats, from nature and other people, at bay. But when Yadaka, an Aboriginal man on the run from white law enforcement, intrudes on the sanctuary she has carved out, the brutal hardships and secrets that have followed them both throughout their lives must be confronted.

In 1961, Kempton Bunton, a 60-year old taxi driver, stole Goya’s portrait of the Duke of Wellington from the National Gallery in London. It was the first (and remains the only) theft in the Gallery’s history. Kempton sent ransom notes saying that he would return the painting on condition that the government invested more in care for the elderly - he had long campaigned for pensioners to receive free television. What happened next became the stuff of legend. Only 50 years later did the full story emerge - Kempton had spun a web of lies. The only truth was that he was a good man, determined to change the world and save his marriage - how and why he used the Duke to achieve that is a wonderfully uplifting tale.

Winner of Cannes Directors Fortnight, multi award-winning writer/director Jonas Carpignano's searing, gripping and remarkably poignant new drama follows a Calabrian teenage girl who learns some difficult truths about her close-knit family. Gioia Tuara, Southern Italy. The Guerrasio family and their friends gather to celebrate the 18th birthday of Guilia, the eldest daughter of Claudio and Carmela. There is a healthy rivalry between the birthday girl and her 15-year-old sister Chiara (extraordinary screen discovery Swamy Rotolo) - who’s clearly Dad’s favourite - though it’s a happy occasion. But Chiara gradually senses that something is very wrong, and then… her father disappears. Chaira’s mother exudes reassurances to her three daughters but offers no clear explanation, so the teenager begins her own investigations. The more Chiara learns, the more she is forced to decide what kind of future she wants for herself. Ingeniously structured and building to a thrilling climax, Carpignano’s virtuoso, neo-realist tale never casts its protagonist as hero or victim, upending the mafia genre with an emotional and urgent new perspective.

WINNER of the Silver Bear Grand Jury Prize – 71st Berlinale (Berlin International Film Festival) An unexpected love triangle, a failed seduction trap and an encounter that results from a misunderstanding. WHEEL OF FORTUNE AND FANTASY explores three female-centred short stories thematically linked by coincidence, regret, and imagination. “In the place where dialogue and words usually end, the dialogue of this film only begin. That’s when they go deeper, so deep that, amazed and troubled, we ask ourselves: How much deeper can it go? The words of Hamaguchi are substance, music, material. At first it looks almost minor: a man and a woman, sometimes two women, stand in a room with white walls. Then the scene moves forward, and as it advances you feel that the whole universe, including yourself, is standing there with them inside this simple room.” ★★★★”Ingenious, playful, sparklingly acted and thoroughly entertaining” THE GUARDIAN