Staff Picks: Cianna Canning

Our chador-wearing heroine walks the night-time streets of Bad City sinking her teeth into those who deserve to die. Outrageously languid, this new-school vampire movie is a triumphant first feature for Ana Lily Amirpour.

In J.C. Chandor’s intense, 80s-set thriller an ambitious wheeler-dealer on New York’s contested waterfront (Oscar Isaac) tries to detoxify his business, but his Mob daughter wife (Jessica Chastain) has other ideas.

Alex Gibney’s documentary sensation, based on Lawrence Wright’s best-selling history of Scientology and its apostates, gets the big screen treatment it deserves.

“Paul Thomas Anderson has taken Thomas Pynchon’s novel about the death of the hippie counterculture and turned it, reasonably faithfully, into a surreally funny, anxious and beautiful film noir.” — The Telegraph

Greek director Yorgos Lanthimos (Dogtooth) casts Colin Farrell, Rachel Weisz, John C. Reilly and Léa Seydoux in a surreal English-language fable set in a world where singles are forced to couple up or be turned into animals.

Russian director Konchalovsky follows a rural postman on rounds that cover tiny lakeside villages in the Arkhangelsk region of northern Russia in this affectionate, unvarnished, ravishingly shot portrait of a vanishing culture.

“Gabe Polsky’s electrifying look at a once-unbeatable Soviet hockey team and the link between sports and politics… deserves a big boo-yah from audiences for being illuminating and hugely entertaining.” — Peter Travers, Rolling Stone

Shot on iPhone and looking fantastic, Sean Baker’s R-rated comedy storms the streets, doughnut shops, brothels and clubs of West Hollywood as two transgender BFFs hunt down the ‘bitch’ who did them wrong.

Pretending to be a taxi driver negotiating the streets of Tehran, Iranian filmmaker Jafar Panahi makes a fascinating, surprisingly entertaining movie about his own role as a forbidden storyteller and life in Iran today.

An after-midnight flirtation on the streets of Berlin gets thrillingly side-tracked by another chase entirely. Filmed in a single real-time take, it’s an edit-free pièce de résistance of acting, directing and mobile camerawork.