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The eccentric, madcap energy of Bringing Up Baby isn’t atypical of 1930s screwball comedies, but Howard Hawks reaches near-perfection in his orchestration of sexual innuendos, animalistic subtext, and an amusingly tense dynamic between polar opposites finding an unlikely romance as reluctant caretakers of a leopard.

Soaring mountaintops and deep oceans become fitting metaphors for the dangerous longing between detective and suspect in Decision to Leave, as Park Chan-wook follows this obsession with a keen, stylistic precision and melancholic ambiguity that threatens to topple both in their pursuit of love.

Mission: Impossible – Dead Reckoning Part 1 proves there is still life to be found in Tom Cruise’s perilous undertakings seven films deep into the franchise, creatively playing on renewed fears of an artificial intelligence takeover with its intangible villain, and setting the stage for a series of thrillingly practical set pieces.

In Asteroid City’s grand metaphor for life, everyone is performing roles that they may not fully understand, yet through the metatextual union of art and reality Wes Anderson reverberates a sweet, formal harmony across a youth astronomy convention visited by aliens, and the backstage drama of the play it exists within.

The formal ambition on display in Synecdoche, New York’s existential, postmodern allegory is equal parts staggering and confounding, transporting us into an absurdist meta-reality that gradually reveals the narcissistic insanity of Charlie Kaufman’s self-obsessed theatre director, and his exponentially sprawling vision of bloated artistic ego.