Downton Abbey: A New Era (PG)
Directed by Simon Curtis
★★★★

DOWNTON Abbey returns with all its cinematic glory and Upstairs-Downstairs intrigue as it continues where the 2019 film left off, but with the Crawley family now heading to the south of France on a fact-finding missing to uncover the mystery of the dowager countess’s newly inherited villa.

Written by Julian Fellowes and directed by Simon Curtis, the film, set in 1928, deals with Downton having to confront the modern world as Lady Mary (Michelle Dockery), to the horror of her father Lord Grantham (Hugh Bonneville), agrees to allow a film company to shoot their silent movie at the estate in order to pay for much-needed roof repairs while he is away in the French Riviera.

The arrival of the film’s stars (played by Dominic West and Laura Haddock) and the crew sends the staff awry and Lady Mary’s grandmother, the dowager countess, (Maggie Smith) into declaring that she would rather eat pebbles than work on a film set — stealing the show once again with her pithy put downs.

The film sees the return of the much-loved cast plus new additions as it deals with the continuing class struggles and distinctions of Downton life, faced now with the advent of a new era. Though it is the diva-like screen siren Myra Dalgleish (an impressive Haddock) who, despite coming from humble working-class beginnings, treats Downton staff like dirt — to the disgust of Lady Mary. As they say, never meet your idols.

Meanwhile, the silent movie has to be turned into a “talkie” following the success of talking pictures in an homage to Singin’ in the Rain.

This isn’t Gosford Park, but staunch Downton fans won’t be disappointed by this visually sumptuous and delightful romp of two halves, which will make them laugh and cry.

In cinemas April 29

We’re All Going to the World’s Fair (15)
Directed by Jane Schoenbrun
★★★

BOTH narratively and visually challenging, this unusual coming-of-age debut feature by trans writer-director Jane Schoenbrun is an intriguing exploration of internet culture and identity.
It is examined through the eyes of US teenager Casey (newcomer Anna Cobb) as she decides to take part in an online role-playing horror game and chronicle the changes that she may or may not be experiencing.

The videos that she watches and posts become more bizarre and extreme as the film unfolds and sparks the concern of fellow viewer JLB (Michael J Rogers), who makes contact.

It is an immersive horror that deals with trans issues and gender dysphoria in a unique and fresh way. It isn’t an easy watch, but will speak volumes to trans viewers.

In cinemas

Your Mum and Dad: A Devastating Truth (15)
Directed by Klaartje Quirijns
★★★

INSPIRED by Philip Larkin’s poem This Be The Verse, film-maker Klaartje Quirijns turns the camera on herself and her loved ones as she delves into the trauma of a secret family loss.

It followed a health scare which resulted in her undergoing procedures to remove a lump from her breast, which one assumes is cancer in all but name (she never mentions the “C” word).
It is a fascinating yet very intimate exploration into family trauma and therapy as she interviews her mother and estranged father about the death of an older sister before she was even born, which no-one talks about. It borders on the voyeuristic as she challenges both her parents.

The documentary also includes the personal struggles of her friend Michael Moskowitz to heal from the physical abuse of his mother and shows his intimate therapy sessions, which he allowed her to film. Though absolutely gripping, it is also distracting; he deserved his own separate, dedicated film.

However, it is still an insightful and thought-provoking watch.

In cinemas