Ryan Gosling throws a lot at his first film as director but Lost River is a sign he has found a single discipline which can accommodate many of his scattershot tendencies. He does not, though, find a place for his own musical output in the avowedly arty Lost River.

"He's not evil, he's just young," we hear in passing in Noah Baumbach's wickedly funny film about the growing pains that affect us at every stage of life. That's to say that by any objective standard, the 40-something Josh (Ben Stiller) and Cornelia (Naomi Watts) aren't especially old, but they inhabit an entirely different sphere from Jamie (Adam Driver) and Darby (Amanda Seyfried), the deeply hip – and younger – New York couple who soon take over their lives. 

Russell Crowe, who has played more than his fair share of rugged action heroes, makes his directorial debut with The Water Diviner, a film in which he plays, you’ve guessed it, a rugged action hero. He is Joshua Connor, a farmer living in the Australian Outback in the early 1900s, who has an uncanny knack of finding water sources, enabling him to farm this otherwise arid landscape (beautifully shot by Andrew Lesnie).

Ron Mann’s laid-back documentary about the career vicissitudes and family life of Robert Altman (1925-2006) takes its cue from the tone of the director’s films. It was Altman’s habit to observe his character’s crises, collapses, and deaths with the same evenness and lack of melodrama with which he observed their humdrum moments.

There’s no shame in being a jobbing actor, but you can’t help missing the Anthony Hopkins who dissected repression with definitive, painful finesse, back when he was great. The Human Stain (2003) is the last I’ve seen of that, amongst the last decade’s Norse gods, Greek generals and judges. His turn as kidnapped lager tycoon Freddy Heineken resembles one of Larry Olivier’s later, international pay-cheques – as a project if not role, Wild Geese 2 comes unwelcomely to mind.

Sometimes, nothing can prevent love blossoming. Sebastian’s second encounter with Andreas is punctuated by the latter vomiting after too much booze. It doesn’t put the brakes on the former’s growing passion for the leather-jacketed object of his affections. Soon, the pair are lovers despite Andreas declaring that he is not gay. He cannot resist Sebastian.

Lushly produced to within an inch of its pictorially ripe life, the new Disney/Kenneth Branagh live-action Cinderella couples swoony imagery with a cloying message about compassion. But all its pro forma qualities fall away as and when Cate Blanchett takes to the screen, the actress as beady-eyed as she is bristling – and Branagh's film that much the better for it.

Six apocalyptic Argentine stories of revenge combine in this hugely enjoyable and extreme anthology. Producer Pedro Almodóvar must have been impressed by the perverse humour, and the lack of a handbrake as actions rocket out of control. Writer-director Damián Szifron is, though, the sole author of his characters’ nightmarish misfortunes.

If anyone thinks high fashion is an airy-fairy world populated by flibbertigibbets preoccupied with frills and furbelows, Frédéric Tcheng’s feature-length documentary Dior and I, a behind-the-scenes account of the race to prepare the 2012 Christian Dior couture collection in record time, should set the record straight. This is a serious business, with investors’ money and employees’ jobs riding on the quality and execution of one person’s artistic vision.

How would a sighted adult react to becoming blind? What would their anxieties be? How would they construct their new world? Could they construct one? All these questions are central to the Norwegian film Blind. Ingrid can no longer see and is attempting to find her way anew without sight.