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‘Sand City’ review: Two disparate lives are linked by sand in lyrical Bangladeshi feature
Dhaka-set drama is debut feature of short filmmaker Mahde Hasan
‘Hi-Five’ review: ‘Burning’ star Yoo Ah-in joins strong cast for South Korean superhero movie
Director Kang Hyoung-chul’s fantasy adventure sees ordinary Koreans develop superpowers after organ transplants
’ChaO’ review: Anarchic Japanese anime imagines a fantastical near-future Shanghai
Animator Yasuhiro Aoki makes his debut with this energetic tale of human-merpeople relationships
‘Behind The Shadows’ review: Louis Koo plays a hardbitten PI in Kuala Lumpur-set detective thriller
The first Malaysian production from Koo’s expanding One Cool Group
‘Love On Trial’ review: Koji Fukada’s drama reveals the dark side of the J-pop phenomenon
A female singer faces a lawsuit for having a boyfriend in this underpowered Cannes Premiere
‘Homebound’ review: Neeraj Ghaywan’s empathetic Indian drama is backed by EP Martin Scorsese
Story of two friends attempting to escape their marginalised roots could be an Un Certain Regard breakout
‘Girl On Edge’ review: Friendship turns to rivalry in Chinese figure skating drama
Director Zhou Jinghao’s debut bows in Directors Fortnight
‘Exit 8’ review: Tokyo’s subway is an endless purgatory in ‘ingenious’ video game adaptation
Director Genki Kawamura’s twisting, inventive chiller bows in Cannes Midnight
‘Dangerous Animals’ review: Sean Byrne’s Australian sharksploitation lacks real bite
Jai Courtney and Hassie Harrison star in this messy genre mash-up
‘Renoir’ review: A grieving 11-year-old retreats into fantasy in 1980s Tokyo
Chie Hayakawa’s elegant second feature plays Cannes Competition
‘Sons Of The Neon Night’ review: With no expense spared, Juno Mak constructs an alternate 1990s Hong Kong
The actor/director’s tricky, long-awaited follow-up to ‘Rigor Mortis’ bows in Cannes’ Midnight strand
‘Bring Her Back’ review: Sally Hawkins delivers ‘unspeakable evil’ for the Philippou Brothers
The follow up to ‘Talk To Me’ features the British actor as a malevolent foster mother
‘Left-Handed Girl’ review: Sean Baker-backed family drama is set on the bustling streets of Taipei
Performance-driven Critics Week title is the directorial debut of Baker’s regular collaborator Shih-Ching Tsou
‘A Pale View Of Hills’ review: Kazuo Ishiguro’s debut novel gets tangled between Japan and the UK
Kei Ishikawa directs a dual timeline between 1950s Japan and 1980s England
‘Brand New Landscape’ review: Debut explores a Tokyo family in crisis
Kenichi Endo stars in Yuiga Danzuka’s precise Directors Fortnight drama
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‘The Brightest Sun’ review: Hidetoshi Nishijima plays detective for director Tetsuya Nakashima
Pleasingly complex murder mystery opened the Hong Kong International Film Festival
‘Iron Winter’ review: Young Mongolian herdsmen drive into an extreme climate event
Australian co-pro tracks a lethal winter migration
‘We Girls’ review: Feng Xiaogang and Zhao Liying unite for teary ex-con drama
Lan Xiya also stars in high-profile China holiday release
‘Always’ review: CPH: DOX winner is a poetic meditation on growing up in rural China
Denming Chen’s striking second feature takes the top prize at Danish doc fest
‘Ne Zha 2’ review: Energetic Chinese sequel is the highest grossing animated film of all time
Jiaozi’s box office hit is ”made for the big screen”
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