Stolen Youth is a bizarre and disturbing of indoctrination. The exploitation of vulnerability is at the centre of the piece, with director Zach Heinzerling utilising recordings from within the cult to devastating effect. They illuminate the discomforting manipulation and abuse carried out by the cult's leader, a peculiar figure who has seemingly rubbed shoulders with former heads of state. The documentary is driven by those who were manipulated, the fascinating but horrendous experiences of which are handled with empathy and care, and is consistently engaging despite its deliberate pace.

It’s hard not to be excited about a horror anthology curated by the great Guillermo del Toro, though by its very nature I imagine the quality will vary. Lot 36 is not the most auspicious start, failing to make the most out of its limited runtime. Tim Blake Nelson is effective as the bitter, bigoted Nick Appleton, and we are eventually treated to some creatively designed but not well polished monster effects. Unfortunately, the film just doesn’t muster up enough intrigue or suspense to justify spending time with such an unlikeable protagonist.

Athena is a technical marvel with an unflinching grasp on its dynamic spectacle. Preoccupied with a subject of great poignance, director Romain Gavras captures ferocious rebellion with a confidence rarely seen in modern cinema. The most astounding thing about the picture is that it (mostly) manages to sustain the incredible intensity infused by its hypnotic opening. 

Ill-judged ending aside, this is one of the best films of the year, so of course it has just been dumped on Netflix with very little marketing. Athena is a piece of work crying out to be viewed on the biggest screen possible.