Cassandra and her sister – or perhaps they’re friends or lovers – seem extraordinarily in tune. Like choreographed dancers, they move precisely in unison, down to tripping over their scarves at the same moment or flopping drunkenly into bed together while a cell phone buzzes beside them unanswered, on and on into the night.

Unsettling, unremitting and psychologically stark, Klara and the Sun has all the hallmarks of a traditional Ishiguro novel. Dealing with his familiar themes of loss and love and the question of what makes us human, the book follows the "life" of an Artificial Friend (AF) called Klara, taken from her store of robot compatriots and left to navigate the complex world of human emotions.

Hot on the heels of her 2019 triumph Portrait of a Lady on Fire, Céline Sciamma’s fifth feature continues a perfect track record; this is yet another gorgeous and perceptive film, told from a determinedly female perspective but with a wisdom that is all-embracing. 

A teen comedy with a thematic difference, Moxie has enough memorable moments to firmly establish comedian Amy Poehler as a director worth reckoning with in what is her second film, following Wine Country in 2019.

Contact without touch: among the many readjustments that the pandemic has brought to theatre, its demands that restrict direct contact almost to nothing must be among the most testing. We have learnt much about how rigorously any new production – for now, only live-streamed – must be prepared: the regular testing in rehearsals, the two-metre distancing, the repeated cleaning of props.

Sure, Roald Dahl wrote Charlie and the Chocolate Factory but is that any excuse for a film quite so saccharine? He of all challenging and complex men, with a temperament to match, seems an odd subject for the sort of weightless, paint-by-numbers biopic that would be hard-pressed to muster much attention even as TV filler on a particularly dead night.

Kiwi and Aussie screen legends Sam Neill and Michael Caton have teamed up in this heartfelt and humorous remake of Grímur Hákonarson’s 2015 Icelandic original. The template of Hákonarson’s story has been transplanted but all the details and fillings have changed. Director Jeremy Sims pitches us in Australian sheep country, a sunny and laconic world where life flows at a pretty breezy pace.

Two genuinely lovely performances elevate an often-simplistic tale in Penguin Bloom, based on a 2016 memoir of the same name.

Relic's deliberate drabness hits home first; set in Victoria, Natalie Erika James’s modern horror shows us a grey contemporary Australia, a place bleached of all colour.

Polly Walker's character in Netflix's sumptuous new Regency romance, Bridgerton, could've easily been little more than a villainous Mrs Bennet. We meet Lady Featherington as she's forcing one of her daughters into a tiny corset, muttering about how she could fit her waist "into the size of an orange and a half" when she was the same age.