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The film's power is immobilising and thoroughly unforgiving, but with good reason.Son of Saul, with its immaculate production, attention to detail, and own noble mission, is not only one of the best of the year but one of the best of the decade.

Nobody is required to help Saul, especially in knowing the dangers involved, but there's an unspoken bond between every prisoner to help one another regardless.When he finds the rabbi who agrees to perform the service, it's not powerful because they've been stripped down and Nazis are murdering new arrivals around them – nothing compares to the experience of this scene – it's powerful because the rabbi says yes in spite of that.The story of the relationship between Karamakate, an Amazonian shaman and last survivor of his people, and two scientists who work together over the course of forty years to search the Amazon for a sacred healing plant. One day, Anne has a stroke, and the couple's bond of love is severely tested. Their daughter, also a musician, lives in Britain with her family.It's his one break from being forced to work, and he'll immediately have to remove bodies when it's finished.

The way the film builds these routines are very intimate and exhausting and despite being a fictionalised story, it feels very real.

Meanwhile, his peers are plotting an escape along with destroying the crematorium and will require Saul's help.

However, he cannot assist both futile missions simultaneously.

Despite its small scope, it dwarfs every other film on offer this year.

By Chris Swingle Dave has been through the unshakable weight of depression and the reckless risk-taking of mania.

Even a seasoned visionary director would struggle in such a precise execution.