Oh how British indies love a road trip. Trekking across the rugged landscape, meeting a colourful cast of characters, realising it’s not the destination but the journey. It takes something special to stand out from the pack. The Runaways, debut feature from Richard Heap, has that something special.

Guy Ritchie enjoyed his greatest commercial success with 2019’s live-action fantasy Aladdin, the most atypical project of his career, but The Gentlemen finds him back on his best-known turf as a purveyor of mouthy, ultra-violent geezerism. It’s 21 years since his debut hit with Lock, Stock and Two Smoking Barrels, but its shaggy-dog story-telling and spirit of high-wire anarchy resurface intact.

British cinema has done so badly by Christmas that the revival of a film that parses the nature of the festival while mining its potential for sparking family strife is cause for celebration.

For an actor, there are few bigger risks than writing and directing your own film. Securing funding is pretty easy if you’re a household name, like Karen Gillan is, but that doesn’t mean your script is any good or your vision holds water. At their worst, these films can be vain and embarrassing affairs. At their best, you’re left wondering if there’s anything their star can’t do. The Party’s Just Beginning puts Gillan very firmly in the latter camp.

Game of Thrones’ Emilia Clarke stars in this awkward but sweet Yuletide romcom as Kate, a chaotic, George Michael obsessed twenty-something in London who’s lost her way following a serious illness.

Wild Rose director Tom Harper blends fact with fiction in a charming Victorian ballooning adventure that reunites Eddie Redmayne and Felicity Jones for the first time since The Theory of Everything.

If the recent period of British history that has involved recession, austerity, the hostile environment and Brexit is to have chroniclers, who better than Ken Loach and his trusty screenwriter Paul Laverty. Their blend of carefully researched social realism and nail-biting melodrama is angry, shaming, essential. Only the coldest-hearted bureaucrat or corporate heel could leave the cinema dry-eyed.

Putting a radical spin on a fish-out-of-water story, The Last Tree explores troubling aspects of the African diaspora experience in an England riddled with xenophobia and black-on-black racism.

Seeing post-war London in vibrant colour is a delicious surprise, and the opening seconds of A Kid for Two Farthings follow a pigeon flying east from Trafalgar Square, eventually settling on a pub sign in Petticoat Lane. The location footage in Carol Reed’s first colour film, from 1955, is eye-popping, his cast mixing seamlessly with everyday market folk.

Don’t Look Now is beautiful in its dankness – an eldritch psychological thriller that follows a grieving father’s stream-of-consciousness as it flows into deadly waters.