Older fans of T Rex will get pleasure from hearing the band’s tracks and reliving some of the buzz of being a dino-rocker, but, despite the title, this isn’t strictly a fan film. Describing what kind of film it is, though, would involve a serious spoiler, which points to its wonky narrative ambitions. It expends a lot of screen time building up to an unsurprising reveal (more on that below).

A cameo by Jeremy Allen White wouldn’t usually excite interest, but the star of Disney+’s The Bear is big box-office now, so his presence in Fremont, however brief, will probably guarantee it an audience. There the curious will also find a gem from the Iranian-born director Babak Jalali and a serenely powerful debut performance by Anaita Wali Zada, who gives this simple-seeming project an inner glow.

“There’s nowt so queer as folk”, they say, and Life on the Farm amply proves the point. A cassette slides into the slot; “play” is pressed and a middle-aged man appears on screen at the gate of Combe End Farm. “Follow me down”, he says to camera,”I’ve got something to show you.”

In the mood for love? It’s over 23 years since Wong Kar-Wai’s swoony, bittersweet film of that name reset the bar for the art-house love story. Now comes Celine Song's Past LIves, an entirely different kind of bar-setter but with a similar tough-but-tender core. It’s an unshowy, slim film, but it takes on hefty topics: can love survive for decades, can it cut through cultural barriers? What does a relationship need to survive?

Mercy Falls isn’t the only Scottish film of the past year in which a young woman is haunted by childhood memories of a last summer holiday with her troubled father. And while Ryan Hendrick’s low-budget horror is unlikely to garner as much critical acclaim as Charlotte Wells’s Aftersun, at least it’s more eventful.

Otto Baxter is no stranger to the camera, ever since he was a small boy he’s been featured on television with his adoptive mother Lucy Baxter, an impressive campaigner for better understanding of people with Down's Syndrome. Archive footage shows him to be a cheeky, outgoing child with a keen sense of fun.  

From Forty Shades of Blue, 20 years ago, to Keep the Lights On and Love is Strange, writer/director Ira Sachs has proved himself to be a master at exploring romantic relationships – and the messier, the better. So, after the whimsical, inconsequential ensemble Frankie, he’s back to his best with a good old-fashioned love triangle. 

Here we are in rural Ireland and on the other side of bonkers. Apocalypse Clown is billed as an "end-of-the-world road movie with clowns". It’s hilarious, off the wall, beyond the cringe.

This modest British dramedy is billed as a “heart-warming story of friendship and survival set against the backdrop of the 2001 Foot and Mouth outbreak”. That’s perhaps not the first catastrophe we associate with that fateful year, but it was a grim event in its own way: a livestock epidemic that led to the culling of countless farm animals across Britain.

At first, eight-year-old Peter tries to wish away the strange midnight noises as bad dreams, but the persistent knocking against his attic bedroom wall keeps him awake. His querulous mother (Lizzy Caplan, pictured below), assures him that he’s got a “beautiful imagination”, and “that there are bound to be bumps in the night.”