As so often in films, Louder Than Bombs is not a dissertation, but a meditation on its themes and motifs. Seen in isolation, words and deeds may seem unexceptional – it is as a whole that Joachim Trier film takes flight.

Sciamma's fifth feature film is immediately striking in its gentleness as well as emotional and visual beauty, but what lies beneath the apparent simplicity are rich layers of structural echoes and quiet metaphors.

Like many of its own films, the Midnight Sun Film Festival remains true to perhaps the greatest cinematic – and human – aspiration of them all: to express an understanding of, and solidarity with, all the others washed up with us here on this strange little planet of ours.  [2]

This second of three analytical articles on Interstellar explores themes: identity, religion, lies and truth, inflexible worldviews, and the difference between the imagined and the experienced.

Zeitgeist is replaced by timelessness, chamber music by a symphony. The systematically unpredictable Thelma is Joachim Trier and his team's most sonorous, lyrical and adventurous film.

Although the framing story and twist are surprisingly prosaic, for long stretches of the main body M. Night Shyamalan's Old conjures up a combination of tension, absurdity and chaos that few other films have achieved.

While waiting for Trap, have a look at the director's previous film, which powerfully taps into highly topical, online-fuelled phenomena like irreconcilable world views, gaslighting and conspiracy theories.