Emanuele Crialese’s latest, L’immensità, is an oddity. It’s perfectly formed, yet still feels as if its final reel went missing. Its title – usually translated as “infinity” – is typical of this enigmatic quality. 

Popped straight out to the streamers, Nicole Holofcener’s new film has apparently been labelled as insufficiently marketable for a theatrical release against the juggernaut of Barbenheimer. Surely by now a movie that doesn't feature either Ryan Gosling or Florence Pugh’s bare chests could be allowed in the cinema?

The vogue for star ratings fixed to film reviews arrived after the heyday of exploitation movies, which is perhaps just as well because the whole point of such films is that they’re good and terrible at the same time.

This Seth Rogen-produced, Family Guy writers-co-scripted gross-out comedy with four Chinese-American women fully lives up and down to its description. With Crazy Rich Asians co-writer Adele Lim as debuting director, it’s also another demographically pioneering work.

Big bitey sharks and prehistoric monsters have tantalised the imaginations of summer moviegoers for decades, from Jules Verne to Jaws. James Cameron’s Avatar 2: The Way of Water and the director’s recent scientific commentary on the OceanGate submersible disaster also serve to underline the public fascination with the dangerous deep.

People have been making films about the unreliability of memory since, oh, I can’t remember. Often it’s a cue for a genre escapade, but here French filmmaker Alice Winocour gives us a social drama, telling the fictional story of a survivor of the terrorist attacks in Paris in November 2015, which killed 130.

It doesn’t do to be in a hurry in Nepal. In Baato, directors Kate Stryker and Lucas Millard follow Mikma and her family as they travel 300 kilometres from their mountain village in Eastern Nepal to the town of Terai. It takes the best part of a week for the five adults, two boys, and two dogs to walk the narrow paths until they reach the unpaved road where they can board rickety buses or jeeps to complete their journey.

Another week, another toy story, in the wake of Barbie. And another origin-of-hit-product story, too, after Air. The Beanie Bubble, though, has none of the surprisingly gripping appeal of Nike’s rise and rise via a single trainer design, nor the (sporadic) wit and bounce of Greta Gerwig’s mega-hit. It’s all corporate idiocy, shabby dealings, and misogyny. And failure is nowhere near as fascinating as success.

Keeping up with viral teenage trends is nearly impossible – they travel at the speed of light – but here’s a new one, or ancient one given an electronic makeover.

Céline Devaux, known for her award-winning short films, wrote, directed and drew the animations for her charming, funny debut feature, which takes the concept of the critical inner voice and runs with it.

Blanche Gardin is brilliant as Jeanne, whose revolutionary invention, a structure that traps and removes microplastics from the ocean - it's called Nausicaa, which doesn't bode well - ends up as a dismal failure at its launch.