It was a particularly heartening year for homegrown
cinema, as the oft - maligned UK film industry produced such gems as Andrew Haigh's 45 Years, Daniel and Matthew Wolfe's Catch Me Daddy, Debbie Tucker Green's Second Coming, and Rufus Norris's ambitious stage - to -
screen transfer London Road.The cream of the crop for me, however, was Carol Morley's infinitely intriguing The Falling, a film that
echoed the best work of Nic Roeg and established its director as one of the most exciting talents of her generation.