A United Kingdom (2016), directed by Amma Assante

Based on a true story of a romance between a middle class English girl and an African chief, A United Kingdom shines a light on the politics of post-colonial Britain. Ruth Williams met Oxford law graduate Seretse Khama in 1947 and fell hard for him, only to find he was the king of Bechuanaland – a UK protectorate in the shadow of apartheid South Africa. The couple met opposition to their marriage at every turn, from their families, from British authorities and in Seretse’s tribal homeland. They faced separation and years of exile, with Seretse forced to give up his royal heritage to retain his wife and family. Rosamund Pyke and David Oyelowu have the chemistry to make Ruth and Seretse’s relationship totally convincing and the film is beautifully shot. The couple overcame all obstacles to help Botswana to independence and prosperity and Assante does a good job of highlighting a little-known African success story.

Russian Doll (Netflix)

Nadia is celebrating her 36th birthday at her friend’s New York loft apartment. Leaving the party to search for her missing cat she is hit by a taxi and killed, only to find herself back at the party, living the same night over again. This keeps happening; only the timing and mode of her death are subject to change. As she starts to realise what is happening to her Nadia moves from denial to investigation, trying to figure out why and how she might stop it. Along the way she gets to know her friends better, meets some new ones – but will she ever find her cat? Meeting uptight Alan, who seems to be in the same predicament, changes the game as together they search for answers to ending the time loop they are caught in. With obvious parallels to Groundhog Day, Russian Doll is also analogous to an old school, platform video game – no surprise as Nadia is a game developer. Blackly funny, sometimes moving, Russian Doll is a tribute to friendship as much as anything. Natasha Lyonne teeters on the edge of over-the-top as Nadia, held back from the brink by a solid supporting cast and a mostly tight script.

The Flipside (2018), directed by Marion Pilawski

With her business in trouble and her mum at risk of eviction from her care home, Adelaide chef Ronnie is drowning in debt but she can’t seem to tell her very nice boyfriend about her woes. Former lover Henry, an egotistical actor, drops in on her life and seems to offer an escape from all that’s gone wrong, but Ronnie has been down that road before and he broke her heart. This is Emily Taheny’s film and her frazzled Ronnie carries it over a sometimes-limp script and unsubtle comedy. She has chemistry with an effectively low key Eddie Izzard as horrible Henry, which helps another wise unlikely pairing. Vanessa Guide and Luke McKenzie only just avoid tired stereotypes as their respective partners – French Sophie and terminal nice guy Jeff. Tina Bursill puts in a delightful small turn as Ronnie’s demented mum. This film has all the elements for success but its ultra lightweight treatment lets it down. It works best as a charming homage to Adelaide and surrounds, with suitably appealing shots of its many attractions.

Good Money, by JM Green

Stella Hardy is a burnt out social worker in Melbourne’s western suburbs. When the son of a client is murdered and her next-door neighbour disappears, Stella finds herself pulled into a murky world of high finance and low-life drug dealers. Along the way she has to deal with her dysfunctional family, consider a potential new lover with his own dark secrets and repair an old friendship with a cop who could be helpful. The setting is refreshing, but there is a lot of unnecessary detail of local streets, landmarks and directions. The action zips along, but the characters are curiously flat and the role of coincidence in the plot is hard to swallow. Some of the writing, particularly around the family relationships, is striking in its clarity and precision. There is a lot to like about the book, but there is too much reliance on action over credibility and Green tries a bit too hard for entertaining and quirky and it doesn’t quite come off.

City of Girls, by Elizabeth Gilbert

Writing a memoir for Angela, the daughter of a man once in her life, Vivian Morris looks back to herself at 19 and her arrival in 1940s New York. After bombing out of college Vivian’s straight-laced parents send her to her aunt Peg, who runs a seedy theatre. A talented seamstress, Vivian finds her niche creating theatrical costumes. She makes friends, discovers sex and alcohol and generally has a ball until it all comes crashing down when she makes a very bad mistake. Occasional reminders that this is all a story told to the mysterious Angela are deliberately inserted into the narrative at various points, although the answers she wants are a long time coming. Two-thirds of the book is devoted to the roaring 40s, Vivian’s awakening and maturing during the war years. There is little hint throughout this section of the answer to Angela’s question – who were you to my father? Nor indeed is it indicated who he is, despite Vivian’s promise to tell what he was to her. This makes the device of Angela as audience rather a long tease. Vivian fast-forwards through the next 20 years of her life and we finally learn the identity of Angela’s father towards the end of the book. It is not a total surprise, but the nature of their relationship is. Gilbert’s writing is clear, warm and engaging, her characters lively and appealing. The novel is ultimately a testament to friendship, celebrating all kinds of love and the benefits of finding your tribe and creating the family you need.

Late Night (2019), directed by Nisha Ganatra

Written by Mindy Kaling for Emma Thompson, Late Night is smart, witty and on point, if perhaps a tad heavy handed. Katherine Newbery is an award-winning comedian and late night TV host who has been at the top of her game for almost 30 years. Her show has become stale and she is under threat of losing her gig to a crass, younger, male comedian. Her very white, male writing team all come from a similar background, which helps to keep her work stale and repetitive. Enter greenhorn Molly (Kaling), the ‘diversity hire’ who brings a fresh approach and some hope of Katherine retaining her position. There are some interestingly complex plot points, such as Katherine’s ailing husband and a different take on the sexual politics of television, but conflicts are resolved a little too quickly and easily for credibility. A solid supporting cast includes John Lithgow as Katherine’s supportive husband and Hugh Dancy as a playboy comedian. The script is based on Kaling’s lived experience; it rings true and provides a truly valid commentary on equality of opportunity and the need for allies to be able to see what you can be. Although for a movie featuring a comedy writing team it could have been funnier. Emma Thompson makes the most of her role – just imagine if a female comedian ever did get the chance to be a late night TV host.

Finn Family Moomintroll, by Tove Jansson

Revisiting Moomin Valley after many years absence is a sheer pleasure. Written in the 1940s and 50s, the tales hold up just fine in the modern age, beautifully illustrated by the author and seamlessly translated. Set in a gorgeous natural world of spring and summer (because moomintrolls hibernate in winter), there are mountains to climb, rivers and seas to sail and forests to roam. Moomintroll and his friends enjoy feasts and treasures, exploration and adventures and meeting new and wonderful creatures. Their lives are not without fear or danger, but there is nothing that can’t be overcome by a practical approach to life and Moominmama’s cooking or Moominpapa’s homespun philosophy. Fun and kindness permeate the stories, which are a delight for children to read or listen to and for adults to read aloud.