Here at the High Temple of the Seventh Art, it could be considered a cause for concern that the most enjoyable films on show have been as mainstream as they come. True, there have been one or two extraordinary films – like Laszlo Nemes’s Holocaust drama Son of Saul, which certainly could not (or should not) be described as ‘enjoyable’. And then there’s Miguel Gomes’s three-part 1001 Nights (into which I’m now some 667 nights), which is a work of radically strange invention, but not consistently a source of joy.
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