After Heaven Knows What, filmmakers Josh and Benny Safdie return to the mean streets of New York City with Good Time, a hypnotic crime thriller that explores with bracing immediacy the tragic sway of family and fate.

Lucy is the dog. Wendy is her owner, a 20-something urchin chasing dreams of economic stability in Alaska and trying to cross the country in a shaky car and a precariously small amount of cash in a money belt. A high point of Reichardt’s career, Wendy and Lucy stands as a defining work of the neo-realist filmmaking that transformed American independent cinema in the early 2000s.

Inspired by the photographs of Slovak artist Martin Martinček whose pictures distilled entire lifetimes into luminous and intransient images, Hanák created his own distinctive impressions of the artist's work in reflecting a myriad of human stories.

With his second feature, a towering epic that took him years to complete, Andrei Tarkovsky waded deep into the past and emerged with a visionary masterwork. Appearing here in his preferred 183-minute cut, Andrei Rublev is an arresting meditation on art, faith, and endurance, and a powerful reflection on expressive constraints in the director’s own time.

Few filmmakers can boast a body of work as audacious, beautiful or challenging as that of Pedro Costa. Languid and unsettling, beautiful and intimate, with echoes of Tourneur, Bresson, Ray and Straub-Huillet, Blood is both elusive and utterly mesmerising.