OPENS JULY 4, CERT 15, 110 MINS

Eddie and Maria live in rural seclusion, scraping by on a small timber business and subsisting on home-grown vegetables. She is nervy and bird-like, he’s a gentle bear of a man. Although little is said, it’s clear that for this damaged couple, their home and the stoic simplicity of their existence is a refuge from other, wilder past lives.

Then a chance encounter brings Kullman into their world. A former acquaintance of Eddie, recently released from prison, he’s treated at first with hostility by Maria. The couple’s little world is disrupted and neither will be quite the same again.

This atmospheric Norwegian psychodrama is remarkably powerful, particularly given that the actors apparently improvised much of the dialogue. Director Marius Holst favours long, meditative takes and striking wide shots to build tension and create menace. With echoes of early Polanski, this first film contains some of the most fascinating performances that you’ll see all year from leads Maria Bonnevie and Kim Bodnia as Maria and Eddie. A totally absorbing experience.

OPENS JULY 25, CERT 15, 118 MINS

In these days of shock and awe we might all feel a twinge of nostalgia for the Cold War’s certainties, but Wolfgang Becker’s Goodbye Lenin! looks back on old East Germany with neither indulgence nor anger.

Hardcore socialist Christiane (Katrin Sass) falls into a coma when her son, Alex (Daniel Br

OPENS, JULY 4, CERT 12, 98 MINS

Veteran documentarian Tareque Masud’s Cannes award-winning feature is both a tender coming-of-age tale (button-cute boy realises that world is harsh place) and a continuous, meandering and essentially inconclusive debate on the nature of religious and political freedoms in late-’60s East Pakistan (now Bangladesh).

Anu (Nurul Islam Bablu) is the wide-eyed pre-pubescent protagonist with a penchant for Hindi festivals and decadent Western ways who is sent by his angry fundamentalist father from the family home to a strict Islamic school, or madrasa. Here, Anu befriends the school patsy, Rokon (Russell Farazi), adjusts to the harsh new regime, and dreams of happier times spent with his kindly communist uncle Milon (Soaeb Islam). And yet, whenever the movie threatens to take off, and Anu’s journey hints at catharsis, Masud obscures the revelation with sermonising. Like Ken Loach on a bad day, we get passionate teachers, grumpy prefects, howling minstrels and wizened old boatmen all proffering their opinions on martial law vs democracy, Sufis vs mullahs and pacifism vs fundamentalism.

Ultimately quite wearing.

DIRECTED BY Paul Justman

STARRING The Funk Brothers, Joan Osborne, Bootsy Collins, Chaka Khan

Opens July 25, Cert PG, 108 mins

Detroit, 1959, and Berry Gordy gathers the best musicians from the city’s jazz and blues circuit and sets them to work as the house band on his fledgling Motown label. Holed up in the garage at 2648 West Grand Boulevard, these guys put the backbeat into Hitsville USA and, during Motown’s golden age, play on more hit records than The Rolling Stones, Elvis and The Beatles combined. Some feat, but The Funk Brothers are soul music’s unsung heroes?and director Paul Justman’s fabulous documentary attempts to recover their legacy.

Inspired by producer and music supervisor Allan Sluksky’s 1989 biography of The Funk Brothers’ late bassist James Jamerson, Justman’s doc is shot at the Detroit after-hours club where the band developed an inimitable sound, playing gigs to supplement their pitiful Motown wage. We get the history of the group from surviving members: keyboard player Joe Hunter, drummer Uriel Jones and bassist Bob Babbitt?sly old coots to a man, full of self-deprecating humour, whose anecdotes about Smokey, Marvin, Diana and Stevie are the stuff of pure gold. But the film has many wistful, not to mention downright sad, moments. One of the most striking comes during a series of vox pops with shoppers in a Detroit collector’s record store. Each is asked to identify the musicians who played on every great Motown smash. No one knows the answer.

Intercut with these reminiscences we get some great footage of the chaps?some of it archival, some of it contemporary with the Brothers jamming with Chaka Khan, Boosty Collins, Ben Harper and Joan Osborne. Even now, reformed after 30 years, they’ve got the funk in spades.

Justman carefully deconstructs the fantasy image perpetrated by Berry Gordy and the Motown family. The fulcrum of The Funk Brothers?the late great drummer Benny Benjamin and James Jamerson?went largely under-acknowledged during their lifetimes. Benjamin died a lonely death in 1968 and, damningly, Jamerson only got to attend the Motown 25th anniversary concert in 1983 after buying a ticket from a tout. He died a few weeks later. This film suffers for their absence, and the grainy re-enactments Justman stages seem superfluous.

That aside, this is the best kind of documentary?a salutary history lesson told with care and affection.