Turkish director Nuri Bilge Ceylan has been a Cannes regular for almost two decades now, and one of the festival’s more frequent prize-winners: over his career he has come away with two Grand Prix (for 2003’s Distant and 2011’s Once Upon a Time in Anatolia), the Best Director award in 2008 (Three Monkeys), and the Palme d’Or for his previous film, Winter Sleep, in 2014.

Where would you go for a devastating study on the human condition? The home movies of teenage skaters would be very low down on that list. But most of those movies aren’t filmed, compiled and analysed by Bing Liu, the director of Minding the Gap. Perfectly balancing perspective and curiosity, it’s perhaps the most unexpected achievement on the year.

Benjamin is the debut feature of Simon Amstell, a young director who has thought cleverly about the torments (and hilarities) of artistic creation in an information-soaked world.

The story behind this first – and final – feature from the young Chinese film-maker Hu Bo is as sad as anything in recent cinema history.

You might think an American high school comedy an unlikely place to locate a love letter to Oscar Wilde – even if there’s a flamboyantly gay story behind it. But Freak Show screenwriters Beth Rigazio and Patrick J Clifton, adapting James St James’ source story, have a way with wit that is clearly aiming to match the writer whom they keep quoting.

Israeli filmmaker Samuel Maoz’s Foxtrot uses irony and visual poetry to condemn his nation’s militarism. Twenty months after the movie won the Grand Jury Prize at Venice, it opens in the UK trailing a divisive history. When it first emerged in 2017, it was condemned as un-Israeli by then culture minister Miri Regev.

How does the ever cherub-cheeked Alex Lawther keep getting served in pubs? That question crossed my mind during the more leisurely portions of Old Boys, an overextended English schoolboy revamp of Cyrano de Bergerac that flags just when it most needs narrative adrenaline.

An angry little boy, in jail after stabbing someone, stands in a Beirut courtroom and tells the judge that he wants to sue his parents. Why? For giving birth to him when they’re too poor and feckless to care for him. And he wants them to stop having children.

Oh I do like to be beside the seaside – well perhaps not, if Jellyfish is anything to go by. Set in Margate, this independent feature paints a picture of a town and people that have been left behind. Cut from the same cloth as Ken Loach’s I, Daniel Blake, it tells the story of Sarah (Liv Hill), a young carer barely able to balance school, work and her homelife.

This well-crafted addition to the films inspired by the Black Lives Matter movement is subtler and less commercial than last year’s The Hate U Give but covers similar terrain. Writer-director Reinaldo Marcus Green sets Monsters and Men in