Following their award-scooping collaboration on 2018’s The Favourite, Emma Stone and director Yorgos Lanthimos return with this mind-bending adaptation of Alasdair Gray’s eponymous novel. Also on board is screenwriter Tony McNamara, who wrote (with Deborah Davis) The Favourite’s screenplay. You might say lightning has struck twice, with Stone collecting the Best Female Actor award at the recent Golden Globes and the film winning for Best Musical or Comedy.

Margaret Thatcher’s witless assertion that “there is no such thing as society” dates back to 1987; Ken Loach’s The Old Oak offers a belated but powerful rebuttal.

This week, the makers of Scala!!! threw a party in what remains of its subject – a notorious, beloved repertory cinema in then sleazy King’s Cross, born 1981, dead 1993, and now a dowdier music venue.

The water is wild in Night Swim, the weirdly wet horror debut from director Bryce McGuire, in which a backyard bathing pool becomes the locus of all things supernatural.

There’s no shortage of documentaries about movie stars, film directors and production studios in their heydays, but very little attention has been paid to the cinemas that showed the movies they made or the diverse audiences they attracted.

Sofia Coppola knows a thing or two about teenage girldom. Like many of her other characters – in The Virgin Suicides, Lost in Translation, Somewhere and Marie Antoinette – the subject of her latest film, Priscilla Presley, is an ingenue living in a gilded cage and surrounded by lavish boredom. It hardly matters whether the setting is actually the Park Hyatt Tokyo, Chateau Marmont, the Palace of Versailles – or Graceland, in this case.

The movies haven’t been kind to Pyotr Ilyich Tchaikovsky. The Nutcracker Suite was a highlight of Walt Disney’s Fantasia (1940) perhaps, but the 1969 Soviet biopic directed by Igor Talankin was tedious and Ken Russell’s The Music Lovers, released two years later, worse than that.

“I had sex with a woman. Can I tell you about it, please?” says film director Tomas (Franz Rogowski) to his husband Martin (Ben Whishaw), a printmaker. Tomas is full of excitement about his night with Agathe (Adèle Exarchopoulos); Martin is resigned, pale, doesn’t want the details. This always happens when you finish a film, he says. Take a nap, relax. But Tomas has thrown their relationship into crisis.

Just as Napoleon may be Ridley Scott’s most autobiographical subject, so motor-racing potentate Enzo Ferrari’s mastery of streamlined speed seems made for Michael Mann. But where his best films’ cool control accelerates into calibrated mayhem, Ferrari mostly stays underpowered.

Numbers indicate if entries are listed in order of preference

Saskia Baron

Anatomy of a Fall

Broker

Fallen Leaves

Joyland

Killers of the Flower Moon

Otto Baxter: Not a F**ing Horror Story

Return to Seoul

St Omer

Scrapper

A Thousand and One