FISH TANK (UK/2009/ANDREA ARNOLD)

In this modern twist on kitchen-sink realism, grumpy teenager Mia struggles with life on an Essex council estate with her uncaring mother Joanna and cheeky younger sister Tyler. Her only release from the miserable cycle of petty arguments and cautions from the police is amateur urban dance, a hobby which she practises in an abandoned flat round the corner. When her mother brings home a well-bred, friendly man called Connor, Mia immediately smells a rat and becomes wary of his overwhelming attempts to play father figure to her and her sister. As Connor passionately encourages Mia in her dancing, she quickly changes her tune and the two begin an uneasy affair, something which immediately has devastating repercussions.

Critical darling Andrea Arnold, who was awarded the Jury Prize at Cannes for directing this film, manages to create a quietly magical world within a barren environment, allowing us access to the warmer side of an outwardly angry individual. But while Mia’s unpredictability makes her an interesting character to follow, she isn’t exactly the most enchanting protagonist, and there are moments in the film where her actions are a little farfetched. The plot seems somewhat rushed, too – Mia’s repeated attempts to set free a horse from a local trailer park are already old news by the middle of the film, and the shocking developments of the final act appear to have little consequence. It’s a film that commands your attention from start to finish, but is too flawed to deserve all the attention.

LOOKING FOR ERIC (UK/2009/KEN LOACH)

Eric Bishop, a postman and vehement Manchester United fan, feels stuck in his life. With a failed marriage under his belt, he is left in a continuing spat with ex-wife Lily, and disrespectful stepson Ryan causes further difficulties by taking care of a gun for a local gangster. At the end of his tether, he helps himself to Ryan’s supply of weed and begins to hallucinate about former Man United midfielder Eric Cantona. From hereon in, Cantona becomes a frequent vision, patiently answering Bishop’s rhetorical whinging with his typically baffling philosophies. Bishop begins to take on these aphorisms in his everyday life, slowly gaining the courage to reconstruct his tattered relationship with Lily, and to stand up to the gangster intimidating Ryan.

Viewers familiar with Ken Loach’s body of work may be pleasantly surprised by what is possibly his most fun film to date. This is Loach’s love song to football – and one of its most bizarrely venerable characters – so enjoyment of the film is in some way proportionate to one’s opinion on the game, but there is still much to be admired. Cantona is a humorous presence, playing screenwriter Paul Laverty’s loving caricature with bonhomie. But the real focus here is Steve Evets, one-time bassist for The Fall, whose portrayal of the protagonist makes one wonder why the larger-than-life character hasn’t been seen much until now. One complaint would be that the tone of the film is imbalanced, but one can hardly begrudge Loach a few moments of sunshine.