Jane Eyre (2011)

Compelling and powerful adaptation of Charlotte Brontë’s 1847 novel, directed by Cary Fukunaga. 

Mia Wasikowska stars in the title role, while Rochester is played by Michael Fassbender. Both of them are absolutely at the top of their game, delivering subtle and nuanced performances. 

There’s something highly believable about it – a gritty realism that’s often lost when revered classics are filmed.

Persuasion (2007)

Excellent television adaptation of the 1817 novel by Jane Austen. Directed by Adrian Shergold, it transcends the usual limitations of TV drama.

There’s something very fresh and even raw about it – both visually and emotionally – and this makes it feel much more real. 

Sally Hawkins is superb as Anne Elliot, conveying a huge range of emotions with her face alone. Rupert Penry-Jones is fine as Captain Wentworth, but less impressive overall.

It's nice to see the familiar Bath city locations as well as a very cold-looking Lyme Regis.

Submarine (2010)

Comedy-drama about Oliver Tate, a 15-year-old boy (played by Craig Roberts), his life at home and school, and his relationship with his classmate Jordana (Yasmin Paige). In parallel, the film examines his parents’ failing marriage and his mother’s relationship with “mystic” Graham. 

It’s quirky and unusual. Some of the narrative is handled in a slightly tricksy manner, but it works because it’s from Oliver’s perspective. 

There’s a huge emotional range. It’s funny and sad. It’s realist and also fantastic. Not really like anything else I've seen.

Blue Jasmine (2013)

The best Woody Allen film for a long time, although that may be damning it with faint praise, Blue Jasmine stars Cate Blanchett as a wealthy socialite whose life falls apart when her husband (Alec Baldwin) is imprisoned for fraud. Battling panic and depression, she goes to live with her sister in San Francisco (Sally Hawkins) in order to start a new life.

The premise sounds bleak, but there’s plenty of black comedy in this supremely well-observed study of class and downward mobility. Woody Allen’s pacing and construction are very solid, with expert handling of extended flashback sequences, and he really knows how to tell a story and reveal a character.

Blanchett gives one of her greatest ever performances. She’s twitchy and on the edge, but – as per the demands of her character – also elegant and hugely appealing. You can see the conflict and turmoil in every facial expression.