Still best-known in Britain for scripting Alain Resnais’ Last Year in Marienbad (1961), Alain Robbe-Grillet’s films as sole auteur develop that landmark work’s slippery reality. Like the novels with which he first made his name, Trans-Europ-Express (1966) draws attention to and fractures its own construction, as Robbe-Grillet, his producer, his wife Catherine as a canny continuity assistant and the film’s star, Jean-Louis Trintignant, all board the titular train.

Dubai is a city that famously emerged from the desert, founded on oil and ambition, rising in an eruption of skyscrapers, luxury resorts and bling.

One might say that Gulf cinema is also trying to grow in a desert – a cultural one. Dubai is hardly known for its intellectual or cultural output; film doesn’t attract the same investment as real estate or tourism; and audiences attending the multiplexes in this city’s enormous malls are not given much of a taste for anything other than Hollywood.

Polish director Agnieszka Holland is best known for two Holocaust films, both based on remarkable true stories: the 1990 Europa Europa and the 2011 release In Darkness. Here she tackles horror of the supernatural kind. This NBC two-parter is an updating of Ira Levin’s best-selling 1967 novel rather than a remake of Roman Polanski’s 1968 classic film, though it wouldn't matter either way, for while Polanski remained faithful to the book, this version of Rosemary’s Baby revises significant details.

At least three composers have set about turning The Fall of the House of Usher into operas, including most famously Debussy, whose abortive attempt, completed by Robert Orledge, was brilliantly staged by Welsh National Opera in June. But there is a good argument that Poe’s story – short on incident and character, long on visual image and atmosphere – lends itself better to film than to the stage.

“If it bleeds it leads”, proclaims crime news reporter Joe Loder (Bill Paxton) as he investigates the bloody remains of a car crash with his invasive camera lens in a bid to make the biggest bucks out of the exploitation of human tragedy. It’s a mantra which curious onlooker Lou Bloom (Jake Gyllenhaal, who has shed a massive 30 pounds for the role) takes to grim and vicious extremes when he sets up his own TV news business.

Nuri Bilge Ceylan’s Cannes Palme d’Or winner is an epic chamber piece by a contemporary great. From the moment a stone suddenly smashes the car window of landlord Aydin (Haluk Bilginer), physical threat darkens the corners of the remote Anatolian hotel-home he shares with his bitter, bored sister Necla (Demet Akbao) and young, emotionally dying wife Nihal (Melisa Sozen). But unlike Ceylan’s previous sagas, Once Upon a Time in Anatolia and Three Monkeys, the violence remains verbal.

Circuses were a regular touchstone for Fellini, and clowns, as this 1970 TV movie confirms, their troubling core. I Clowns’ first 25 minutes are a dry run for Amarcord’s raucous flashback to Fascist Rimini. Beginning with the boy Fellini woken in the night by a circus's arrival, his camera takes a ringside view of the hoarse bluster and escalating mania of a Twenties show, orchestrated by clowns who frighten Fellini.

Draft Day should have been a contenda. As it stands, it's a football film for people who like football but who hate film. Sure, you may like “movies”, but you sure as hell don’t like film. It’s also the kind of film a rookie film reviewer will gleefully shred.

Much has been said before about these two Leos Carax greats, but the beauty of these surrealist French films is that you can enjoy them again and again, each time finding something new to appreciate. It's been a while since Boy Meets Girl and Mauvais Sang (The Night Is Young) were first released, but that only makes them that little bit more iconic.

The Swedish writer-director Lukas Moodysson first burst onto the scene in 1998 with the chaotically romantic Show Me Love (original title Fucking Åmål), a story of a love affair between two teenage girls which shocks a small Swedish town. He followed that with commune comedy Together (2000) before eventually segueing into darker territory with films such as Lilya 4-Ever (2002), A Hole in My Heart (2004) and Mammoth (2009) which focussed on sex trafficking, amateur porn and the ills of globalisation respectively.