Lucile Hadžihalilović’s kaleidoscopic fable, starring Marion Cotillard as a haughty, damaged diva, is a cautionary tale about the perils of fantasy

• The best films of 2025 in the UK
• More on the best culture of 2025

Lucile Hadžihalilović is a good bet for the most underrated director on the planet. She’s only made four features in 20 years, but with obsessive consistency each time: an exquisitely controlled hermetic world that exudes weird biological and psychological anxieties – from the pre-pubescent prep school of 2004’s Innocence, to the island hospital nurturing impregnated boys in 2015’s Evolution. These microcosms, governed by their own internal laws, seem to exist in some far-off arthouse realm indifferent to regular cinema.

But her new film, The Ice Tower, makes the coyest of glances towards commercial territory by rooting itself in Hans Christian Andersen. “Vast, immense, glittering like ice was the realm of the Snow Queen,” lullabies Marion Cotillard in the preamble; the story is the preferred bedtime reading of teenage orphan Jeanne (Clara Pacini), who escapes from her foster home, heads down the mountain, and stows away on a film production of the fairytale. The queen is being played by imperious diva Cristina van der Berg (who is played for us by none other than la Cotillard).

The storytelling is brittle, but there is still enjoyment to be had from this story of a mother and child and rescue from a catastrophic flood in Seoul

Kim Byung-woo’s chimeric but not unenjoyable sixth feature begins like a normal apocalypse movie, with a deluge inundating Seoul. Then it flirts with taking on social stratification baggage as a beleaguered mother tries to climb up her 30-storey apartment block to escape the rising flood waters. But once it is revealed that An-na (Kim Da-mi) is a second-ranking science officer for an indispensable research project, the film becomes a different beast entirely – possibly something quite insidious.

As the film gats under way, An-na’s swimming-obsessed six-year-old son Ja-in (Kwon Eun-seong) sees his dreams come true when water begins flooding their apartment. Along with everyone else, they begin pounding the stairs – before corporate security officer Hee-jo (Park Hae-soo) catches up with them and explains that an asteroid impact in Antarctica is causing catastrophic rains that will end civilisation. But a helicopter is en route to evacuate her and Ja-in, because she is one of the pioneering minds who have been at work in a secret UN lab that holds the key to humanity’s future.

A festive musical blends fairytale optimism with lush orchestration and Sound of Music sweetness – even if this often overwhelms a thin storyline

Reported to be the first Thai musical in 50 years, The Christmas Dream is directed by Englishman Paul Spurrier, and is an intriguing blend of new and old: a modern Oliver Twist that progresses from the country’s northern hills to Bangkok, with old-school Technicolor trappings and emotionally lush showstoppers aplenty (written by Spurrier and set to an orchestral score by Mickey Wongsathapornpat).

With a Michelle Yeoh-like resoluteness but half her size, Amata Masmalai plays 10-year-old schoolgirl Lek, who is forced to flee after her abusive stepfather Nin (Only God Forgives’ Vithaya Pansringarm) fatally beats her mother (Chomphupak Poonpol). Hitting the road with her one-legged doll Bella for company, Lek has only a strong moral compass to guide her to the new home she is promised by her mum’s ghost. A number of picaresque companions put it to the test, including a spoiled rich girl (Kathaya Chongprasith) desperate for a friend and a quack doctor (Adam Kaokept) hawking dodgy cure-alls.