Snowtown - Justin Kurzel, Australia
why? - For the largely non-professional cast, the year's best score, the line 'come and say hello to Barry', Daniel Henshall's chilling performance, being a directorial debut and for being the most gut wrenching true crime movie since Henry: Portrait of A Serial Killer.
Pina 3D - Wim Wenders, Germany
why? - The breathtaking dancing, the superb music, the striking locations, the expert use of 3D technology, for blending a musical with a documentary and for making contemporary dance accessible to a wide audience.
A Separation - Asghar Farhadi, Iran
why? - For continuing the current wave of important Iranian films, it's deconstruction of class, gender, religious, political, moral and ethical issues, the uniformly impressive performances, it's emotional ambiguity and for eschewing an easy conclusion.
Poetry - Chang-dong Lee, South Korea
why? - Jeong-hie Yun's stunning performance and the lead character's age, the class issues, the social mores, its unsentimental attitude, for making poetry bearable onscreen, Lee's immaculate direction and for treating the audience with the intelligence the film itself contains.
The Turin Horse - Bela Tarr, Hungary
why? - Because every single moment is monumental yet minimal, the recurring aural motif, the horse, the wind, the repetition, the starkness of the imagery, the uniqueness of its vision and for not caring one iota about commercial sensibilities.