Spider-Man: Into the Spider-Verse swung into theaters in December of 2018 and immediately captivated audiences with its revolutionary take on the beloved superhero genre and breathtaking animation style. Directed by the talented trio of Peter Ramsey, Rodney Rothman, and Bob Persichetti, this animated masterpiece defied conventions and soared to unprecedented heights.

The film successfully introduces the concept of the multiverse and seamlessly weaves together the stories of various Spider-People from different dimensions. At its core, the film follows the journey of Miles Morales (Shameik Moore), a teenager grappling with newfound powers in the wake of the death of his universe’s Spider-Man. His world is spun even more out of control as he meets alternate universe heroes that make him question if he is ready for his new responsibilities.

Accolades poured in for the film, with the crowning achievement being the Academy Award for Best Animated Feature. This recognition affirmed not only the technical brilliance of the animation but also the emotional depth and storytelling prowess that elevated Into the Spider-Verse beyond the status of a mere superhero film.

As first time viewers delve into the intricate web of dimensions and the extraordinary journey of Miles, it becomes clear that Spider-Man: Into the Spider-Verse is more than a cinematic experience – it’s a groundbreaking achievement that redefined expectations for animated storytelling in the West and left an indelible mark on the superhero genre.

In this Movie List from The Film Magazine, we are highlighting the 10 best moments from the film that define why Spider-Man: Into the Spider-Verse continues to enthral audiences, and we will explore its legacy as one of the best comic book movies of all time.

Follow @thefilmagazine on X (Twitter).

10. Welcome to the Spider-Verse

This is how you start a movie.

The rising intensity of the opening music. The glitching of the studio logos. The flashes of graffiti. Then blam: the intro fully kicks in and we are treated to the visual feast that is this movie. An explosion of colours and funky graphics inform us that Into the Spider-Verse is unlike any other comic book movie in that it is unashamed of its genre.

Following this is the opening monologue from Peter Parker (don’t get too attached), beginning the recurring “Alright, let’s do this one last time” gag. Peter, voiced by Chris Pine, gives a brief rundown of things most audiences will already know, narrating his life and the responsibilities that come with being Spider-Man. Yes, we’re technically seeing another screen Spider-Man origin story, but the writers make this one concise and fresh. This self-awareness lends itself nicely to some humorous moments, such as detailing the smaller Spider-Man duties, like having his own cereal or recording a Christmas album. 

Furthermore, there are plenty of references to Spider-Man in pop culture for fans to feast on. Did anyone expect them to reference the abominable Spider-Man popsicle? The animators even draw comparison to other Spidey iterations on screen, like the upside down kiss, the train scene in Spider-Man 2, and the legendary dance scene from Spider-Man 3.

It is the film’s thesis statement: funny, fast-paced and visually spectacular. The perfect introduction to one of the most unique comic book movies. Simultaneously, these opening 2 minutes are a celebration of all things Spider-Man, and a reminder why the iconic hero has endured for so long on page, on screen, and in wider popular culture.

Recommended for you: 10 Best Moments from Sam Raimi’s Spider-Man Trilogy

9. Meet Miles

A film is arguably only as good as its characters, and a film filled with fantastical Spider-people could have a hard time making its protagonist stand out. Within seconds of meeting Miles Morales, its clear audiences have a beloved hero to root for.

The first time we see Miles, he is caught up in his passions: artwork and music. His singing is gradually drowned out by his parents calling his name. He is pulled out of his daydream and into an all too relatable scenario – a teenager late for school. 

This quickly transitions to a high-energy montage showcasing Miles’ daily life, complete with the vibrant backdrop of Brooklyn. We are immersed in the sights and sounds of Miles’ world as they see a new side to him. As he walks through his neighbourhood, he is cool and approachable. His effortless charm makes him instantly likable. The dynamic animation, coupled with a hip-hop soundtrack, creates a sense of kinetic energy that mirrors the pulse of Miles’ urban environment. As Miles parades through the streets, leaving stickers of his artwork, he trips and is caught by his dad, a police officer. We are reminded that, despite his coolness, he’s still an awkward kid. These relatable struggles form the necessary strong connections between Miles and each of us.

These first moments with Miles do more for the film’s central character than a lot of comic book movies manage to do in their entire runtime. Miles’ humour and occasional awkwardness make him endearing. He embodies the youthful enthusiasm and idealism associated with adolescence, making him a perfect vessel for audiences diving into this larger than life story.

The Golden Globes, known historically for being one of the leading ceremonies of awards season, has announced two new awards for their upcoming January 2024 show.

The first of the new awards is the Golden Globe for Cinematic and Box Office Achievement. The Golden Globes website states that this award nominates those films that are the ‘highest-earning and/or most viewed films that have garnered extensive global audience support and attained cinematic excellence.’

In order to be eligible, films must have grossed a minimum of $150million in their theatrical run. $100million of that total must have come from the domestic (United States, Canada, and Puerto Rico) box office. Streaming films will be considered based on viewership data acquired by recognised industry sources. Eight films can be nominated, and their inclusion in this category will not rule out their eligibility in other categories such as Best Motion Picture and Best Animated Film.

Tim Gray, Golden Globes Executive Vice President, expressed his desire to rectify attitudes towards awards season, stating that “these films have typically not been recognized among industry awards, but they should be.”

This decision is reminiscent of the proposed Oscar for Outstanding Achievement in Popular Film put forward by the Academy Awards in 2018. This announcement was met with criticism due to a lack of clarity regarding what it was actually awarding and for potentially diminishing a blockbuster’s chance at a Best Picture nomination. A month after its announcement, the Academy of Motion Picture Arts and Sciences retracted their decision and nothing has been heard of the award since. It will be interesting to see how the Golden Globes version of this award is handled and if the organisation will commit to it in future ceremonies.

The second of the new Golden Globe awards is the Best Performance in Stand-Up Comedy on Television. This award will celebrate achievements in traditional stand-up comedy from broadcast, cable, and streaming – so long as the project has a recognised distributor. A total of six nominees will be chosen in this category.

These announcements come following criticism of the Golden Globes over the past few years, directed at their former parent company The Hollywood Foreign Press Association. In 2021, most of the criticism addressed a lack of diversity in the voting body, which hadn’t seen a black person join since 2002. This resulted in the 79th Golden Globe Awards being widely boycotted, with US broadcaster NBC refusing to broadcast it. The decision to promote more populist films through the new award could be the organisation’s attempt at repairing their relationship and reputation with filmgoing audiences.

The most recent ceremony saw Martin McDonough’s The Banshees of Inisherin be rewarded as the biggest winner of the night, picking up three awards including Best Motion Picture – Musical or Comedy. Steven Spielberg‘s semi-autobiographical love letter to film, The Fabelmans, was awarded Best Motion Picture – Drama, with Spielberg himself earning the award for Best Director.

The 81st Golden Globe Awards will take place on Sunday, 7th January 2024.

I have approached this list in a way that focuses on the objective strengths of films as opposed to my subjective favourites. While my personal tastes undoubtedly influenced my choices, I tried to remain as impartial as possible. Therefore, I have excluded countless films that I adore which don’t quite meet the ‘best ever’ criteria.

It feels like a crime not to have a single entry by directing greats such as Orson Welles, Paul Thomas Anderson, Agnès Varda, Francois Truffaut, Masaki Kobayashi, Andrei Tarkovsky, or Céline Sciamma. Ask me on a different day and a film by them could easily be included over something else. But, as it stands today, here are what I think are the 10 Best Films of All Time.

Follow me on Twitter – @MrGeorgeLAX

10. Koyaanisqatsi (1982)

Koyaanisqatsi is a 1982 experimental film directed by Godfrey Reggio. The film has no plot or narrative, and instead features a series of stunning and often surreal images set to a mesmerising musical score by the legendary Philip Glass. The title comes from the Hopi language, and can be translated as ‘life out of balance’. Koyaanisqatsi explores the relationship between humanity and nature, offering a powerful commentary on the impact of modern civilization on the environment.

Reggio’s documentary is a groundbreaking work of art that challenges conventional storytelling methods. It’s a reminder that the form of cinema is so malleable and that directors should be encouraged to stray from the path most trodden. The slow-motion and time-lapse shots of urban and natural landscapes creates both a sense of awe and unease. While its lack of a traditional narrative might be too challenging for some, for me it’s a visual experience that I am completely enthralled by. 

9. Princess Mononoke (1997)

I wanted to include an animated film on this list, and where better to look than to the master himself, Hayao Miyazaki?

Across his brilliant oeuvre, which includes works like Spirited Away and Kiki’s Delivery Service, Princess Mononoke is the one I consider to be his best. This epic tale follows the journey of Ashitaka, a valiant warrior who becomes embroiled in a bitter conflict between the forest gods and the humans who seek to exploit their resources.

Miyazaki’s masterful direction and attention to detail have created a world that feels both fantastical and grounded in reality, and the film’s themes of environmentalism, war, and spirituality are woven together seamlessly. Its stunning visuals and richly detailed world make for a visual feast. The blending of awe (such as the forest of kodama) with spectacle (the final act) creates a unique and imaginative experience. As with all of Miyazaki’s writing, the nuanced characters are a delight to watch due to their compelling stories and fearlessness. It’s for these reasons that Princess Mononoke is not only the best Studio Ghibli film, but one of the best films of all time. 

Recommended for you: 10 Best Studio Ghibli Films

After months of casting reports and rumours, writer-director James Gunn has finally chosen his Superman and Lois for his next feature, Superman: Legacy.

David Corenswet will take on the role of Superman/Clark Kent. Corenswet recently starred opposite Mia Goth in the critically acclaimed Pearl, and played the lead role in Ryan Murphy’s miniseries, ‘Hollywood’. Corenswet will replace Henry Cavill, who portrayed the iconic character for close to a decade, starting with Man of Steel in 2013.

Rachel Brosnahan has been cast as Daily Planet reporter Lois Lane. She is perhaps best known for her leading role in the Amazon Prime series ‘The Marvelous Mrs. Maisel’. Her performance as the titular Mrs. Maisel was unanimously praised, garnering her an Emmy and two Golden Globes. Prior to this, Brosnahan appeared on ‘House of Cards’, which Corenswet also appeared in briefly, though the two did not share a scene. Brosnahan follows in a lineage of big and small screen Lois Lanes that includes Margot Kidder, Teri Hatcher, Kate Bosworth and most recently Amy Adams.

Reports indicate that final auditions took place over the weekend with stars such as ‘Sex Education’ lead Emma Mackey and Mad Max scene-stealer Nicholas Hoult also in the running. The latter also narrowly missed out on playing Batman in Matt Reeves‘ recent take on the caped crusader. While losing out on two huge roles like this will likely be frustrating for Hoult, an earlier report suggests he has also been testing for Superman’s arch nemesis Lex Luthor.

This news comes almost exactly a decade after Henry Cavill and Amy Adams made their comic book movie debuts in Man of Steel (June 2013). Each appeared in multiple DC projects over the last decade, in a shared universe that is due to end with the release of Aquaman and the Lost Kingdom in December. After a series of critical and commercial failures for Warnes Bros., new DC Films figureheads James Gunn and Peter Safran will helm the rebooted cinematic universe. Gunn, who was responsible for Marvel’s Guardians of the Galaxy franchise under the Disney banner, has spoken publicly about his desire to ‘focus on an earlier part of Superman’s life’ than the one Henry Cavill was portraying by the end of his run.

Superman: Legacy will be released on 11th July 2025. Gunn and Safran have stated that the film will follow a young Clark Kent during his early days at the Daily Planet. The film will follow him balancing his Kryptonian heritage with his life on Earth. Gunn is directing based on a screenplay he has written himself.

Follow @thefilmagazine on Twitter for daily news updates.

A maverick of cinema, Welles was known for his innovative and distinctive style. His reputation for pushing the boundaries of conventional storytelling and experimenting with different techniques to create a unique visual and narrative experience made him stand out. His camerawork used deep focus photography, which allowed for everything in the frame to be in focus, giving Welles a larger canvas to tell his story. His editing choices, such as cross-cutting and overlapping dialogue, were highly influential to many filmmakers. 

Perhaps controversially, Welles’ most celebrated film, Citizen Kane, will not be featured in this list. Citizen Kane is better appreciated after becoming familiar with Welles’ style, once the pressures of such an iconic status as Best Film of All Time has slipped away. Likewise, the brilliant F for Fake has been omitted. Welles’ late career documentary on forgery has a lot of call-backs to his earlier work, therefore is much more rewarding to those more knowledgeable of his career. Both films should be sought out eventually, as they are equally fantastic and some of the many highpoints in Welles’ unmissable oeuvre. 

It’s difficult not to recommend so many films, such as Chimes at Midnight with its breathtaking battle sequence that inspired the likes of Braveheart and the Battle of The Bastards from ‘Game of Thrones’. His version of Othello is worthy of mention too, being one of the most masterfully shot black and white films in history. But everyone must start somewhere, and these three films are the perfect entry points into one of cinema’s greatest tycoons. This is Where To Start with Orson Welles. 

1. The Third Man (1949)

The Third Man is a film noir set in post-World War II Vienna, Austria. The story follows a writer named Holly Martins, who arrives in the city to take a job offered by his old friend Harry Lime. However, when Martins arrives, he discovers that Lime has died under mysterious circumstances. As Martins begins to investigate his friend’s death, he finds himself drawn into a web of intrigue and danger, and discovers that Lime may not have been the man he thought he was.

Welles didn’t direct The Third Man, instead only playing the supporting role of Lime. But Welles has as much a presence on screen as he does behind the camera, and no film better encapsulates this than The Third Man. From the moment he first appears on screen, Welles commands attention with his natural charisma. It’s a scene which Roger Ebert described as “the most famous entrance in the history of the movies.” He imbues Lime with a devil-may-care attitude that is both charming and menacing, and his interactions with Joseph Cotten’s Martins are some of the film’s most memorable moments. One of the most famous scenes in the film, in which Lime delivers a monologue about the futility of justice whilst on a ferris wheel, has become a classic moment thanks in large part to Welles’ delivery and the fact he wrote it.

Director Carol Reed and cinematographer Robert Krasker create a visual style that uses unusual camera angles, shadows, and light to create a sense of tension that matches the film’s noir narrative. The interplay between light and dark during the sewer scene creates a sense of claustrophobia and dread that make for an effective climax. Krasker was awarded the Best Cinematography – Black and White at the 1950 Academy Awards. Additionally, the bizarre score, performed on a zither by Anton Karas, makes the film unique against similar films.

The Third Man isn’t just successful because of Orson Welles. Joseph Cotten is equally as impressive as Martins and Reed directs masterfully, culminating in a near perfect classic. But, as an introduction to the enigmatic man, it is perfect at showcasing his charm that has endeared audiences for decades.

2. Touch of Evil (1958)

Directed by Orson Welles, Touch of Evil involves a corrupt police captain named Hank Quinlan, who is investigating a bombing on the US-Mexico border. When evidence points to a Mexican national named Sanchez, Quinlan uses his power to frame Sanchez for the crime. Meanwhile, Mexican drug enforcement agent Miguel Vargas, becomes involved in the investigation and grows frustrated at the corruption and prejudice at the heart of the case. As tensions rise, Quinlan and Vargas become locked in a dangerous battle of wit and power.

Touch of Evil slaps you in the face with its opening shot – a three-minute long take that follows a bomb placed in the trunk of a car as it travels across the US-Mexico border. It’s difficult not to fall in love with Welles after witnessing this. It’s a technical achievement and such a brilliant showcase of skill that can reignite passion in even the most unfazed of film fans. Much like Alfred Hitchock’s approach to tension, the audience’s knowledge of the bomb makes those three minutes gripping. The remainder of the film is equally captivating, as the story builds towards an electrifying conclusion that matches the intensity and excitement of the opening scene. 

As with most of his films, Welles also acts in Touch of Evil. He plays the corrupt and menacing police captain Hank Quinlan. Welles’ performance is larger than life, and is cleverly shot to ensure he always fill the frame. He is rarely seen in full. Instead, we are only shown his hulking body one bit at a time. This framing suggests his corruption has spread and his influence looms large over the town. It’s a level of filmmaking that prioritises character above all else. Through Quinlan, Welles explores themes of racism and abuse of power which are shockingly still relevant today, affording Touch of Evil a timeless quality that can make it easier for first-time viewers to connect to the story.

Touch of Evil is a must-see film for fans of the noir genre and anyone who appreciates masterful filmmaking. Orson Welles’ vision and talent shine through in every frame, making it a worthwhile watch and a perfect entry point into his career. 

3. The Lady from Shanghai (1947)

The final film on this list follows Michael O’Hara, a sailor who becomes entangled in a complex web of deceit and betrayal when he meets Elsa Bannister, the beautiful and mysterious wife of a wealthy lawyer. When Michael agrees to work on the Bannisters’ yacht, he becomes embroiled in a plot to murder Elsa’s husband and finds himself framed for the crime. Through various twists and turns, Michael must navigate a dangerous and seductive world in order to clear his name and uncover the truth about Elsa’s intentions.

The Lady from Shanghai is a great starting point because it showcases Welles’ playfulness. The wobbly Irish accent he uses for Michael adds a lot of fun. This imperfection is a reaffirmation that the proclaimed boy genius was flawed. And yet, he is having so much fun in every single frame that it becomes endearing. Unlike other auteurs, Welles is warm and non-threatening – and whatever role he takes he is always a joy to watch. Acting opposite Welles is his ex-wife, the incomparable Rita Hayworth. She plays Elsa as cunningly dangerous, the perfect foil for the in-over-his-head Michael. Their chemistry is one of the film’s strongpoints and any fan of golden age Hollywood should leap at the chance to see these two icons sharing the screen together. 

Once again, Welles is able to simultaneously balance his skills in front of and behind the camera. One of the film’s most memorable scenes is the climactic hall of mirrors showdown that creates a dizzying and disorienting experience. It has been parodied so many times that it feels like a trope at this point, but in true trailblazing fashion Welles did it first. While the intricate plot can occasionally veer on the messy side, Welles keeps the film engaging with stunning camera work. 

With fun performances and iconic scenes, The Lady from Shanghai is a perfect place to ease into Orson Welles. It explores themes that occur often in his work, such as betrayal, portraying a world of deceit and corruption where people are willing to go to any length to fulfil their desires.

Recommended for you: Where to Start with Powell & Pressburger

As is the case with big name directors, getting into Orson Welles can be daunting. As a man whose debut is hailed as the greatest film of all time, people might initially be put off by such high acclaim. But Welles is actually one of the most rewarding filmmakers to get into. With only 13 films to his name (and a whole slew of unfinished projects), his filmography is relatively brief when compared to other well-known directors. His varied career, from Hollywood to Europe, is densely packed with great performances, stellar visuals, and rich themes, that make his films very rewatchable. Hopefully this guide has made that first step easier. Be sure to check out the rest of his work, especially Citizen Kane, F for Fake and The Trial, and enjoy one of the true geniuses of cinema.

One key aspect of Reeves’ directorial style is his ability to create visually engaging and immersive worlds on screen – from a civilisation of apes to the comic book-inspired streets of Gotham City. He often employs striking visuals, dynamic camera movements, and meticulous attention to detail in production design and visual effects, to create a rich and captivating cinematic experience. It’s this level of expertise that puts him on a career trajectory that could see him join the likes of Christopher Nolan and Denis Villeneuve as contemporary masters of studio filmmaking.

Reeves’ directorial style also emphasises emotional authenticity and grounded characters. He has a knack for capturing raw and realistic performances from his actors, delving deep into their emotions and motivations to create multi-dimensional people that feel relatable and human, even when said characters are not human. The director often portrays complex relationships and delves into the inner struggles of his characters, resulting in emotionally resonant storytelling.

Matt Reeves is the rare breed of director that can blend high art with blockbuster thrills. Now with an entire corner of the DC Universe under his control, we here at The Film Magazine are using this latest edition of Ranked to reflect on this popular director’s varied and dynamic filmography. Evaluated and judged based on artistic merit, critical appraisal, and their importance to the overall form, these are the Matt Reeves Films Ranked.

Follow @thefilmagazine on Twitter.

6. The Pallbearer (1996)

Tom Thompson (David Schwimmer) is a socially awkward young man akin to The Graduate’s Benjamim Braddock. He is asked to be a pallbearer at the funeral of a high school classmate he doesn’t remember. As he navigates the challenges of dealing with grief, reconnecting with his past, and finding his place in the world, Tom discovers unexpected truths about himself and the people around him.

Matt Reeves’ first feature film is much more confidently made than other debuts. Visually, Reeves teams with cinematographer Robert Elswit, who would later go on to lens most of the films in Paul Thomas Anderson’s oeuvre. The result is an immersive and detailed frame that helps flesh out the world. In addition, Reeves borrows from the handbooks of Mike Nichols and Woody Allen with The Pallbearer‘s dramatic yet comedic tone, 90-minute runtime, whiny main character, and New York setting. Together, these elements elevate Reeves into a competent director, indicating a true passion behind the camera.

The film’s biggest drawback is its script (co-written by Reeves), which struggles to commit to either a philosophical drama or a romcom. The initial premise is interesting but is not explored enough. Instead, the film attempts a balancing act between a philosophical undertaking and a romantic subplot between Tom and his long-time crush Julie, played by Gwyneth Paltrow. It becomes too melodramatic and, unfortunately, the script lacks the intelligence to pull it off. The clashing tones become a distraction, and the film reaches an explanation that is so obvious it makes you wonder if the filmmakers had run out of creativity by that point.

At its best, The Pallbearer is a vaguely poignant and humorous exploration of love, loss, and self-discovery, but these moments are too few and far between to take the film any higher up the list. 

5. Let Me In (2010)

Original vs Remake: Let the Right One In vs Let Me In

A 12-year-old boy named Owen befriends a strange girl named Abby, who has recently moved in next door. As their relationship deepens, Owen discovers that she is a vampire, and she must feed on human blood to survive. As the friendship becomes more complicated and dangerous, Owen must decide whether to help Abby or to protect himself from the horrors that come with being so close to a vampire.

Let Me In is a tricky one, and its placement this low down should not persuade anyone that it is a bad film.

On one hand, it’s a technical marvel. The atmospheric cinematography by the legendary Greig Fraser (Dune, The Batman), adds to the film’s overall eerie and unsettling tone. Reeves clearly demonstrates he is an expert at building tension – a particularly memorable gas station scene is the best evidence of this – and it would be foolish not to point out the stellar lead performances by the young Kodi Smit-McPhee and Chloë Grace Moretz. They have great chemistry and convey the emotional complexity called for by their characters.

On the other hand, Let Me In is a remake of the Swedish film Let the Right One In, and Reeves is very faithful and respectful (with some shots and dialogue almost exactly the same). This is often to the film’s detriment. Occasionally, this version feels soulless. Much like a technical assessment in film school, the filmmakers are checking off boxes. It’s as if Reeves looked at the original and thought ‘well they did this here, so now we should.’ It lacks the flare that Reeves has successfully brought to his most recent films.

The most interesting aspect of Let Me In is watching it in a post The Batman world. Much of this feels like the blueprint for Reeves’ take on the caped crusader, including: Fraser’s murky cinematography that dirties the lens, Giacchino’s haunting score, the gothic tone, and Richard Jenkins’ attire that looks like a prototype Riddler costume. Outside of that, there isn’t much of a reason to choose this over the original from two years prior.

Recommended for you: Richard Jenkins: 3 Career-Defining Performances

Steven Knight, creator of the hit BBC drama ‘Peaky Blinders’, will script an upcoming yet-to-be-revealed Star Wars film.

This news, as reported in Variety, follows the development from 21st March that the previous screenwriter on the project, Damon Lindelof (Prometheus, Star Trek: Into Darkness), will no longer work on the movie.

Lindelof, best known for co-creating ‘Lost’ and HBO’s ‘Watchmen’, had reportedly been working on a script since at least October 2022. He co-wrote a story with Justin Britt-Gibson (‘Counterpart’), who also departed the project.

Outside of ‘Peaky Blinders’, British screenwriter Steven Knight might be best known for penning the Academy Award-winning script for Dirty Pretty Things, as well as Locke and, more recently, Spencer. The quick turnaround on bringing Knight in implies that Lucasfilm are eager to get this film made, as Star Wars has been absent from the silver screen since 2019’s divisive Skywalker Saga conclusion The Rise of Skywalker.

The currently untitled film will be directed by Sharmeen Obaid-Chinoy. No plot details are known but the film is believed to be set after The Rise of Skywalker. Obaid-Chinoy is a two-time Academy Award-winning filmmaker for her documentary work. More recently, she directed two episodes of ‘Ms. Marvel’ for Disney Plus.

It is unclear whether Knight will build on Lindelof’s existing script or start an entirely new treatment. Knight will have a busy schedule on his hands, as he is reportedly also penning a Vertigo remake with Robert Downey Jr. eyeing the leading role.

This shakeup follows a pattern at Lucasfilm, who have seen multiple directors leave projects, like Phil Lord and Christopher Miller who departed Solo, and had some films cancelled altogether, such as Patty Jenkins’ Rogue Squadron and an untitled project that was to be produced by Marvel Cinematic Universe head Kevin Feige.

In other galactic news, Star Wars Celebration 2023 is fast approaching, taking place from 7-10 April in London. Fans can expect plenty of announcements regarding their film and TV slate, including possible details on the Obaid-Chinoy/Knight feature.

Follow @thefilmagazine on Twitter for more news updates.

The recently appointed co-CEO of DC Studios, James Gunn, has finally given fans some concrete plans regarding the direction of the DC Universe, after months of teasing and speculation.

Gunn and co-head Peter Safran held a press conference on Monday 30th January to detail their upcoming projects, and released a video titled ‘Chapter 1 – Gods and Monsters‘ which breaks down plans for the fans.

Before getting into specifics contained within the video, Gunn gave some context to their plans.

Their mission statement is to create a DC universe that is consistent across film, television, animation and videogames. The characters will be played by the same actors regardless of the medium and each project works under one shared story.

Gunn also explained how the upcoming DC releases, which were produced before Gunn and Safran were hired to run DC Studios, will connect to their new universe. First, Shazam: Fury of The Gods will remain part of the DCU, with Gunn saying it has always existed in its own pocket of the universe, “so he connects very well.” Next is The Flash, which will reset the entire DC Universe. This is fitting for the character, who in the comics has been used as a vehicle for DC to reboot their canon. Blue Beetle and Aquaman: The Lost Kingdom will take place after Flash’s reset.

The main takeaway here is that contrary to speculation, Gunn and Safran’s DCU is not a complete reboot. Some characters will remain unchanged, such as Shazam and Aquaman, while others are out, like Henry Cavill’s Superman. As for Flash star Ezra Miller, it is unclear whether they will return after a slew of controversy, though Safran has suggested that the door could remain open for Miller once they have completed their recovery.

In the video, James Gunn detailed DC Studios’ 8-10-year plan and the projects involved. They are as follows:

Creature Commandos

Creature Commandos is the first instalment in the newly established DCU. It will be an animated series with each episode written by studio head James Gunn. In the comics, the Creature Commandos are a team of military superhumans operating during World War II. The series’ group will consist of The Bride of Frankenstein, Doctor Phosphorus, Rick Flag, Sr., Eric Frankenstein, G.I. Robot, Dr. Nina Mazursky and Weasel, who appeared in the James Gunn-directed The Suicide Squad.

Waller

Another character surviving the cut is Viola Davis’ Amanda Waller. This incarnation of the character has appeared in both Suicide Squad films, Black Adam and television series ‘Peacemaker’. This live-action series will take place between ‘Peacemaker’ seasons 1 and 2, and will include some of that series’ cast. ‘Doom Patrol’ creator Jeremy Carver will join ‘Watchmen’ writer Christal Henry as showrunner.

Superman: Legacy

In Gunn’s words, Superman: Legacy marks the true beginning of the DCU. This live-action film will introduce a new Superman as he balances his roles as a Kryptonian and Earth’s protector. Gunn is currently penning the script with no director attached as of yet. The highly anticipated film is due for release on 11 July, 2025.

Lanterns

‘Lanterns’ will be a HBO series focused on two of the most popular Green Lanterns, Hal Jordan and John Stewart. This will be a series set on Earth and apparently in the same vein as ‘True Detective’, in which the heroes uncover a terrifying mystery that will connect to the larger story of the DCU. The series will reinvent Green Lantern for general audiences, after the misfire of the Ryan Reynolds-led 2011 film.

The Authority

James Gunn describes this film as his passion project. The Authority are a group of heroes who firmly believe the ends justify the means. They will do whatever it takes to save the world, with their methods often being morally grey. It holds similarities to the critically acclaimed ‘The Boys’ and could offer a different tone for the DCU.

Paradise Lost

This series will be based on Themyscira, home of Wonder Woman. Gunn describes it as ‘Game of Thrones’ with the characters from the Wonder Woman mythos. It will be set before Diana’s birth, so it’s likely we will see how the island’s political landscape changes into what we are familiar with today, as multiple Amazons attempt to seize power.

The Brave and The Bold

This will mark the introduction of the DCU’s Batman. Making his live-action debut is Damian Wayne, son of Batman, who will take on the mantle of Robin. Based on Grant Morrison’s legendary comic run, which many deem as the definitive Batman, the film will explore the caped crusader’s newfound role as a father while still serving as Gotham’s protector. Damian is the son of Bruce and Talia Al Ghul, so it’s likely the film will also explore Ra’s Al Ghul and the League of Shadows, prominent figures in Batman Begins. Damian is the fifth character to take on the role of Robin in the comics, so fans are already speculating which other members of the Bat-family, such as Nightwing, could appear.

Booster Gold

This TV series will follow a loser from the future who travels back in time to become a superhero with his advanced technology. As Gunn states, it is the superhero story of imposter syndrome. It is possible that Booster Gold’s uniqueness and offbeat humour will allow him to take on a similar role to that which Deadpool has had in Fox’s X-Men Universe. Booster Gold has been a favourite character of fans for a while, so many will be pleased to see him make his DCU debut.

Supergirl: Woman of Tomorrow

Based of Tom King’s acclaimed comic run of the same name, this science fiction epic film will follow Superman’s cousin, Kara Zor-El. Kara was raised on a floating chunk of Krypton and only witnessed death and destruction. This more jaded character will contrast well against Superman’s positivity. It is unclear as to whether this Supergirl will be the same as the one who will appear in The Flash, played by Sasha Calle.

Swamp Thing

The final project on Gunn’s list will be a horror film based on Swamp Thing, a humanoid swamp creature that can control plant life. The film will tell the dark origins of the character, and is illustrative of Gunn and Safran’s willingness to explore different genres. Based on Gunn’s namedropping of other popular comic runs, it’s likely Swamp Thing will be inspired by Alan Moore’s highly successful take on the character in the 80s. Logan and Indiana Jones and the Dial of Destiny director James Mangold has seemingly already expressed interest in directing via a tweet, but as with the majority of these projects no named talent is currently attached.

DC Elseworlds

Popular characters who exist outside of the main DCU continuity, such as Matt Reeves’ take on the Batman, will be rebranded under the DC Elseworlds banner in an attempt to signify their difference from mainline DC stories. The Batman Part II will be released in cinemas on 3 October, 2025. Reeves’ version of Gotham will also continue to be explored in the HBO series ‘The Penguin’. Reeves himself has described his vision as an epic crime saga, and with the newly announced title echoing The Godfather Part II, it seems that vision will remain in tact.

Also included under the new DC Elseworlds banner are the Joker films from Todd Philips, Teen Titans GO! and Ta-Nehisi Coates’ untitled Superman project.

Jim Jarmusch began his filmmaking career with Permanent Vacation, his final year university project released in 1980. His second film, Stranger Than Paradise, was one of the more prominent films in the 1980s independent scene, being a major part of the No Wave movement. No Wave cinema was a period of underground filmmaking from 1976-1985, and its films were categorised by their stripped down and guerrilla filmmaking techniques, with stories that featured darker moods than standard Hollywood pictures. As a leading figure of this movement, Jarmusch soon captivated a cult-like audience of outcasts and rebels. These early works would solidify his role in cinema as the cool auteur, and his later career would only cement that legacy as he attracted a consistent pool of talent, such as Tilda Swinton, Bill Murray and Steve Buscemi, all popular actors within film fan circles. 

Despite often being associated with a particular style, Jim Jarmusch’s filmography is surprisingly varied. His career can be split up into three distinct eras…

The first is this aforementioned No Wave period, in which Jarmusch develops his skills as a filmmaker and his signature style becomes apparent. From Permanent Vacation (1980) to Down by Law (1986), these films are gritty and relentlessly down to earth – even the lens itself feels dirty.

The middle period is marked from Mystery Train (1989) until Coffee and Cigarettes (2003). Here, Jarmusch evolves his style and applies it to new scenarios. He experiments with form and dabbles in new genres such as the revisionist western and martial arts. The results are hugely successful and this is arguably his most creative period as a filmmaker.

The final and current period is a combination of the previous two. Here, he seems to focus on slower and more thoughtful pieces whilst still utilising his signature playfulness of form, reflected both in genre and structure. This is Jarmusch at his most refined. The old Jarmusch is still very much present, only he now has decades of experience.

The three films below have been chosen to best represent the three respective periods of Jarmusch’s illustrious career. The goal of this Where to Start with… guide is to give insight into these different parts of this great filmmaker’s forty-plus years in the industry and give you the opportunity to choose a path that best suits your interests. This is Where to Start with Jim Jarmusch. 

1. Down by Law (1986)

As the third feature of Jim Jarmusch’s directorial career, Down By Law takes all the qualities of the director’s early films and perfects them – the minimalist yet lived-in sets, the griminess of real life, and the microbudget that forces creativity. While his first two films can confidently be classed as No Wave, Down by Law feels like the culmination of these efforts due to a more ambitious story and many refined techniques. 

Zack (Tom Waits) and Jack (John Lurie) become acquainted in prison after they are both wrongly accused of a crime. They share a cell with Bob (Roberto Benigni), an Italian tourist imprisoned for accidental manslaughter. Zack and Jack’s strong personalities cause them to clash, but when Bob strikes a plan to escape they form a mutual respect for each other – the trio’s relationship is at the forefront of the film as they go on the run. The film progresses into a road movie, giving small glimpses of a dishevelled America at that time. The found family aspect between the three leads is unexpectedly heartwarming amidst this bleak and dismal setting. 

Down by Law is a testament to the type of dramatic tension that Jarmusch prioritises. The actual prison break is omitted from the film, as we only see the aftermath of the trio escaping. While such a strange choice would be frustrating in another filmmaker’s hands, with Jarmusch it makes complete sense. The temptation to centre the film around the escape would have undoubtedly been there, but Jarmusch rejects genre conventions to focus on something more important: character. The tension in Down by Law comes from the character’s relationships. As will become apparent with the other films mentioned in this guide, Jarmusch is a firm believer in character over plot.

It is a joy, then, to report that the characters here are played to perfection. Musician Tom Waits is disc jockey Zack, who is paired brilliantly against Jack, the charming pimp played by John Lurie. They each have rough exteriors, yet Jarmusch takes the time to develop them naturally so that we can see and appreciate their softer core. Roberto Benigni as Bob is the scene stealer, however – bringing a much needed levity that superbly contradicts the down-and-out attitude of the other two leads. Unlike them, he shows goodness on the outside, becoming the heart of the group. A scene in the prison where he gets his fellow inmates to chant: “I scream, you scream, we all scream for ice cream,” is nothing short of hilarious and cements him as one of the best characters across Jarmusch’s oeuvre. 

Great performances, coupled with stellar black and white cinematography by frequent Jarmusch collaborator Robby Müller, make Down by Law the perfect entry point for someone wanting to scratch that 80s American independent cinema itch.

A film about losers that will likely be enjoyed most by losers due to the relatability of the three lead characters, Down by Law is a film that feels genuine and endearing.

2. Mystery Train (1989)

For his fourth feature, Jim Jarmusch abandoned his at-the-time trademark of shooting in black and white. Mystery Train acted as the introduction to a new trademark: the rockstar.

Throughout his career, the director has utilised many facets of rock music to inform his filmmaking choices. Sometimes this comes in the form of casting a rockstar, such as Iggy Pop in various roles, or sometimes it’s through his use of rock music in his film’s soundtracks, such as when Neil Young scored Dead Man. In Mystery Train, it’s the subject matter. At the film’s forefront is Elvis Presley, whom Jarmusch is a big fan of. A choice like this illustrates how Jarmusch’s personal touch is all over his projects; he makes films that appeal to his own interests, and they therefore feel more rewarding to watch, as if each film is teaching us more about him as an artist. 

Mystery Train is also indicative of another stylistic choice that Jarmusch often makes: the anthology film. This is the first instance of Jarmusch experimenting with form. He has multiple anthology films, such as Night on Earth and Coffee and Cigarettes, but Mystery Train is the most satisfying due to its unifying themes being more apparent. 

Mystery Train is split up into three stories, each taking place in Memphis, Tennessee. The first follows two teenagers from Yokohama on a pilgrimage to Memphis. They are huge Elvis fans, with their segment acting as a whistle stop tour of some of the city’s most famous landmarks, such as Sun Records. The second story follows a woman who is stranded in Memphis. She has unusual run-ins with the locals and is even visited by the ghost of Elvis. The final story showcases three of the residents of Memphis as they hide from the police after drunkenly shooting a liquor store clerk. The three stories are linked by the Arcade Hotel, where each character spends a night. The hotel is run by the comedic duo of the night clerk and bellboy, whose interactions with the guests are some of the film’s highlights.

Jarmusch treats Memphis with as much importance as he treats each character. Really, the city is the star of the film. Here, Memphis is a three-dimensional place, reflected in the varying ways it’s portrayed. The three stories each explore a new way to view the city.

In the first story, the characters have travelled there purposefully, and to them the city is heralded as a holy place. The second story is about someone who did not choose to be there, therefore we see a disdain for it. The final story follows three people who already live in Memphis. They’re familiar with the city, so to them it’s a playground – they act wild and get drunk, they walk into the hotel and get a room easily because they’re locals. Contrast this to the other characters: the first story’s couple don’t fully understand the desk clerk due to language barriers, and the woman in the second story must share with someone she doesn’t know. Jarmusch explores how the same city can have completely different effects on a person, giving us a full 360-degree view of this place. By the time the credits roll, we have become residents ourselves. In under 2 hours, Jarmusch has shown admiration, loathing and uneasiness for the same place in a way that is perhaps evocative of the complex relationship he has with his nation as a whole, the United States.

That’s not to say that the focus on location detracts from the characters at all. The opposite is true in fact. Since we are given such a broad scope of Memphis, there are a plethora of offbeat characters that make the film as fun and charming as it is. The night clerk, played by Screamin’ Jay Hawkins, is a particular highlight, dominating every scene he is in due to his theatricality. Physically he stands out too, due to his bright red suit that captures his electric personality. Steve Buscemi gives an expectedly great turn as Charlie in the final segment, where he acts opposite musician Joe Strummer who plays Elvis lookalike Johnny. These interesting characters help flesh Memphis out even further, making it feel lived in. They have a timeless quality to them, as if living in their own plane of existence (much like the rest of the film, which feels ever so slightly out of time). It’s rockabilly in a contemporary setting – a celebration of the past in an unsure present. 

3. Paterson (2016)

The most recent film on this list, and perhaps even the greatest, is 2016’s Paterson.

Paterson is a film that represents much of Jarmusch’s later filmmaking period which focuses on feelings rather than events. Also included in this era of Jarmusch’s work are The Limits of Control (2009) and Only Lovers Left Alive (2013). Interestingly, both films take a character archetype (assassins and vampires respectively) and explore it in a way that feels fresh. Instead of making that archetype his film’s defining characteristic, Jarmusch uses it as a springboard to develop meaningful characters worthy of investment. Paterson is a film about the everyman; that everyman being Paterson, who coincidentally lives in Paterson, New Jersey. The mundanity of a blue collar worker’s life is the focal point of the film as he finds happiness in art and the small details of his day to day. Captured with sincerity and nobility by Adam Driver, Paterson must be one of the most likable characters in all of cinema. Driver is a physically imposing guy, but Jarmusch doesn’t play into this – instead, his strength comes from kindness and a gentle sincerity that many people should strive to achieve. 

Summing up the plot of Paterson can be quite difficult. This is not due to any intense complexities, but rather the opposite. Not much happens in the film, the narrative following the titular character’s life as a bus driver. From the amusement of overheard conversations to the awe of a chance encounter, everything that happens to Paterson feels so refreshingly regular – there isn’t even a build up to a climactic third act. The big events in the film, such as Paterson’s bus breaking down, are shrugged off as inconveniences. Once again Jarmusch resists the urge of other filmmakers; the idea of a monotonous life would typically be the foundations of a nightmare, but Jarmusch makes it seem joyous.

In his spare time, Paterson writes poetry. His poems are about small and personal things, from his wife Laura to a box of matches, yet this simplistic beauty enriches the world around him. Real-life poet Ron Padgett provides these for the film. Again, Jarmusch pulls from his own experiences as the two studied poetry at Columbia University. The results are beyond excellent; Padgett’s poems are the perfect paint for Jarmusch’s melancholic canvas. 

Structurally, the film is as poetic as its subject matter. Each day is signified by a title card, clearly segmenting the film in a way that feels like stanzas of a poem. Rhymes are represented by repeated scenes such as Paterson waking up or going to the bar. The motif of twins and Laura’s obsession with patterns bleeds into the set design, suggesting the carefully constructed art of an author familiar with poetry. It’s this playfulness with form that reminds us that Jarmusch is still finding ways to be inventive as a director. This is never overbearing either – much like the film itself, Jarmusch’s techniques are understated. His filmmaking feels effortless despite being meticulous. 

Paterson is a quiet and meditative piece. It is Jarmusch’s ode to the mundane. Despite its small scale, the film manages to be profoundly inspiring. Most people will feel overwhelmed by life, but Paterson is that reassuring hand on your shoulder, the voice that says “take it slow”. Jarmusch issues a passive call to action for everyone to stop and appreciate where we are. He directs a film that breathes freely and lives by its own rules. For a certain type of person, Paterson will be that rare perfect film.

In large part due to this filmmaker getting carte blanche since his debut, there are very few misfires in the Jim Jarmusch filmography. His films are controlled, and the clear authorship makes even his weakest feature a worthwhile viewing experience. He is a filmmaker who never sacrifices artistic merit for mass appeal, instead making intelligent and thought-provoking pieces while never falling into the trap of being pretentious because of his tight grip on what’s cool. If any of these films appeal to you, then please do explore this great American filmmaker’s work – with almost all of his films falling below the 2-hour mark, it won’t take long before you realise you have a new favourite director. 

Debuting screenwriter-director Charlotte Wells and her film Aftersun were the big winners at an evolved 2022 British Independent Film Awards.

Sunday 4th December saw the airing of the Twenty-Fifth British Independent Film Awards (BIFAs). Presented by Ben Bailey Smith in London, the ceremony awarded the very best of British independent film from the past year.

The biggest success of the night was Aftersun, Charlotte Wells’ stunningly poignant debut. Starring Paul Mescal and newcomer Frankie Corio, the drama explores the complex relationship between a daughter and her father whilst on holiday. The film received critical praise, with The Film Magazine giving it a perfect score. Aftersun picked up seven awards, including Best Director and Best British Independent Film, the latter of which was presented by Mescal’s ‘Normal People’ co-star Daisy Edgar-Jones. Aftersun‘s victory here could pave the way for BAFTA success.

2022 also marked the first time the ceremony awarded gender neutral acting awards. Previously, separate awards were given to actors and actresses. These categories were retooled as Best Lead Performance and Best Supporting Performance respectively. The recipients of these awards, Rosy McEwen and Kerrie Hayes, both starred in Blue Jean, Georgia Oakley’s heartbreaking LGBTQ+ drama.

Further new acting categories included Best Joint Lead Performance and Best Ensemble Performance. The former was awarded to Tamara Lawrance and Letitia Wright for their work in The Silent Twins, while the latter was picked up by Our River… Our Sky.

Sinéad O’Connor documentary, Nothing Compares, dominated its field, winning Best Feature Documentary and Best Debut Director for Feature Documentary – which was awarded to Kathryn Ferguson.

Finally, The Worst Person in the World received the award for Best International Independent Film. Joachim Trier’s romantic comedy faced stiff competition from the likes of Everything Everywhere All at Once and Decision to Leave, but was able to come out on top.

The winners of the 2022 British Independent Film Awards:

Best British Independent Film – Aftersun
Blue Jean
Good Luck to You, Leo Grande
Living
The Wonder

Best Director – Charlotte Wells (Aftersun)
Oliver Hermanus (Living)
Sophie Hyde (Good Luck to You, Leo Grande)
Sebastian Lelio (The Wonder)
Georgia Oakley (Blue Jean)

Best Screenplay – Charlotte Wells (Aftersun)
Katy Brand (Good Luck to You, Leo Grande)
Kazuo Ishiguro (Living)
Sebastian Lelio, Alice Birch, Emma Donoghue (The Wonder)
Georgia Oakley (Blue Jean)

Best Lead Performance – Rosy McEwen (Blue Jean)
Sally Hawkins (The Lost King)
Cosmo Jarvis (It Is in Us All)
Emma Mackey (Emily)
Bill Nighy (Living)
Florence Pugh (The Wonder)
Emily Watson (God’s Creatures)
Hala Zein (Nezouh)

Best Supporting Performance – Kerrie Hayes (Blue Jean)
Zoey Deutch (The Outfit)
Aisling Franciosi (God’s Creatures)
Lucy Halliday (Blue Jean)
Zainab Joda (Our River…Our Sky)
Fatma Mohamed (Flux Gourmet)
Paul Mescal (God’s Creatures)
Fionn Whitehead (Emily)
Aimee Lou Wood (Living)

Best Joint Lead Performance – Tamara Lawrance, Letitia Wright (The Silent Twins)
Frankie Corio, Paul Mescal (Aftersun)
Daryl McCormack, Emma Thompson (Good Luck to You, Leo Grande)
Jessie Buckley, Rory Kinnear (Men)

Best Ensemble Performance – Our River…Our Sky
Blue Jean
Emily
Flux Gourmet
The Wonder

Breakthrough Performance – Safia Oakley-Green (The Origin)
Frankie Corio (Aftersun)
Leo Long (I Used to Be Famous)
Kila Lord Cassidy (The Wonder)
Rosy McEwen (Blue Jean)

The Douglas Hickox Award for Best Debut Director – Charlotte Wells (Aftersun)
Andrew Cumming (The Origin)
Thomas Hardiman (Medusa Deluxe)
Frances O’Connor (Emily)
Georgia Oakley (Blue Jean)

Breakthrough Producer – Nadira Murray (Winners)
Aleksandra Bilic, Jennifer Corcoran (Nascondino)
Paul Kennedy (Nightride)
Rupert Majendie (Brian and Charles)
Helene Sifre (Blue Jean)

Best Debut Screenwriter – Georgia Oakley (Blue Jean)
Shane Crowley (God’s Creatures)
David Earl, Chris Hayward (Brian and Charles)
Ruth Greenberg (The Origin)
Charlotte Wells (Aftersun)

Best Debut Director for Feature Documentary – Kathryn Ferguson (Nothing Compares)
Victoria Fiore (Nascondino)
Leah Gordon, Eddie Hutton Mills (Kanaval)
Jono McLeod (My Old School)
Becky Hutner (Fashion Reimagined)

The Raindance Discovery Award – Winners
Electric Malady
Fadia’s Tree
Off the Rails
Rebellion

Best Feature Documentary – Nothing Compares
My Childhood, My Country
My Old School
Nascondino
Young Plato

Best British Short Film – Too Rough
A Fox in The Night
Honesty
Sandstorm
Scale

Best International Independent Film – The Worst Person in The World
All the Beauty and the Bloodshed
Close
Decision To Leave
Everything Everywhere All at Once

Best Casting – Shaheen Baig (Blue Jean)
Leila Bertrand (Our River… Our Sky)
Kharmel Cochrane (The Silent Twins)
Kahleen Crawford (Living)
Lucy Pardee (Aftersun)

Best Cinematography – Gregory Oke (Aftersun)
Alfredo De Juan (Nascondino)
Rob Hardy (Men)
Joel Honeywell (Kanaval)
Ari Wegner (The Wonder)

Best Costume Design – Jenny Beavan (Mrs Harris Goes to Paris)
Saffron Cullane (Flux Gourmet)
Odile Dicks-Mireaux (The Wonder)
Frank Gallacher (Aftersun)
Sandy Powell (Living)

Best Editing – Blair McClendon (Aftersun)
Joanna Crickmay (Elizabeth: A Portrait in Parts)
Izabella Curry (Blue Jean)
Matyas Fekete (Flux Gourmet)
Mick Mahon (Nothing Compares)

Best Original Music – Matthew Herbert (The Wonder)
Saunder Jurriaans (God’s Creatures)
Oliver Coates (Aftersun)
Adam Janota Bzowski (The Origin)
Ben Salisbury, Geoff Barrow (Men)

Best Makeup & Hair Design – Eugene Souleiman, Scarlett O’Connell (Medusa Deluxe)
Oya Aygor, Murat Çagin (Aftersun)
Morna Ferguson, Lorri Ann King (The Wonder)
Siobhan Harper-Ryan (Flux Gourmet)
Niamh Morrison (The Origin)

Best Effects – David Simpson (Men)
Chris Marshall (The Feast)
Ahmed Yousry (Nezouh)

Best Music Supervision – Lucy Bright (Aftersun)
Phil Canning (The Phantom of the Open)
Rupert Hollier (Living)

Best Sound – Flux Gormet
Men
Aftersun
The Wonder
The Feast

Best Production Design – Living
Flux Gourmet
The Wonder
Aftersun
Medusa Deluxe

The Richard Harris Award For Outstanding Contribution By An Actor To British Film
Samantha Morton

The Special Jury Prize
Open Door

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