Despite the clunky title, ‘Star Wars Jedi: Fallen Order' has gone some way to repairing the damage done by EA's controversial ‘Battlefront II'. Devoid of microtransactions or loot boxes, the game's relative innocence is reflected in this spunky commercial from 215 McCann and director Garth Davis.

Set in a small-town factory, the ad sees a young girl play ‘Star Wars' with her dad's enthusiastic co-workers. As the battle intensifies, their mix of lo-fi sound effects and imaginary blasters receives a big budget overhaul.

Davis handles all these requisite bells and whistles with affection, flitting between the real world and the 'Star Wars' universe at well-chosen moments. This helps sell the game's bid for complete immersion, and gives fans and gamers alike a warm-hearted blast of escapism to boot.

One of sixteen films produced for South Africa's 1st for Women Foundation, this gut-wrenching instalment draws attention to the rape and murder of 19-year-old student Uyinene Mrwetyana in a Cape Town post office. Released to mark both Mrwetyana's memory and her killer's life sentence, the film is also inextricably linked to the country's #AmINext movement.

As South Africans take to the streets in protest at increasing violent and sexual crimes against women, the advertised foundation demand a safer future for its members. Director Jeana Theron's opaque visuals and a dignified voiceover underline what's at stake here, as a population under threat reaches breaking point.

It speaks volumes for the quality of the competition at this year's Homespun Yarns that this delightful film directed by Claire Norowzian didn't take the crown. The single mum at its centre has a dilemma when her own mother is unable to fulfil her babysitting requirements as promised. It looks like she'll have to cancel her date... until she comes up with a cunning and highly inappropriate ruse.

It speaks volumes for the skill of this film's makers that the improbable plan she conjures feels both plausible and charming, when - in real life - it would be neither. This has a lot to do with the exceptionally sweet performances which Norowzian has drawn from her actors. 'Quirky' isn't always a word with enormously positive connotations but here it is… every part of this film has an unusual energy which is highly captivating. A really enjoyable tale extremely well told.

This short film by Jamie Gyngell was the winner of this year's Homespun Yarns competition, winning both the jury vote and the audience vote on the night. It is a beautifully constructed horror film with a real sense of unease, and it met the brief very cleverly.

The tone is set in the first few seconds by Benjamin Garrett's unsettling score, and is augmented by highly naturalistic performances, especially from Malcolm Davies as the proprietor of the photography shop at its centre.

Gyngell builds the intrigue towards a satisfyingly macabre outcome in a fashion which belies his status as a director only just breaking through. Everyone who played a part in making this film has a bright future… every element makes a crucial contribution to its chilling impact.

Which election is the Labour Party trying to win? Certainly not this one to judge by this hapless piece of communication. Our country faces the greatest challenge to its democracy since World War II, and the leading opposition party is putting out films so dull that you could reveal the whereabouts of Madeline McCann at the end of it, and the secret would remain intact because no one would ever get to it.

The problem for Labour is that Jeremy Corbyn and his acolytes are under the impression that they won the 2017 election. They didn't. They didn't get crushed in the way that everyone thought that they would, but that doesn't mean anything now.

The threat posed by Boris Johnson's complete disregard for the truth requires a robust and dynamic response. And this film is wildly short of what's required, and there is absolutely no chance of it converting a single wavering voter. Depressing.