Amidst this year’s grand line-up of London Film Festival galas, a treasure trove of titles awaited discovery: BFI restorations, archival interventions, unlikely big hitters and works of radical experimentation all made their mark. What’s certain is that London’s repertory cinemas will have no shortage of upcoming masterful, redefining work. A strong thread in this year’s programme was reinterpreting women on screen – from Lucile Hadžihalilović’s The Ice Tower to Kristen Stewart’s cutting directorial debut The Chronology of Water and, of course, Lynne Ramsay’s highly anticipated Die My Love – but as all seasoned cinemagoers know, the best part of any festival experience is sourcing the unexpected. Finding smaller, hidden joys makes the endless networking and queueing on three hours of sleep worth every minute. My personal best of the fest came from the most surprising voices contemplating what lies at the strangest reaches of human imagination, and daring to challenge our definition of what film can be.

If I Had Legs I’d Kick You – Mary Bronstein

A stand-out return from indie New York director Mary Bronstein, whose first film in 17 years – a twisted comedy-horror helmed by force of nature Rose Byrne – delivers a slamming punch to the gut. Rife with charming sardonic humour, Bronstein delves in essayistic detail into the relegation of women’s domestic roles and the psychological terror of mothering in an enduring catalyst of psychological swings and ruptures. Not letting up for a second, If I Had Legs aims high, and hits harder than most this year – a film guaranteed to knock the breath out of you.

Dry Leaf – Alexandre Koberidze

This German-Georgian mystery may prove jarring for some – filmed entirely on a W595 Sony Ericsson, rendering cohesive images from this three hour-long epic requires a process of true endurance. However, once adjusted, the most pictorial landscape cinema appears, rewiring our expectation of film entirely, and our own capacity for comprehension. I’d struggle to think of anything like this, a lo-fi road trip starring the director’s father, complete with an invisible character, and an utterly captivating score by Giorgi Koberidze. Somehow, embodying Monet, Kiarostami, and the pure nostalgia of 140p resolution in the same moment.

Redoubt – John Skoog

I went into this on a recommendation from a friend, knowing literally nothing around the film itself except that it starred French master of physicality Denis Lavant, so no further convincing was needed. What unfolded was a deeply heartwarming and concise tribute to a real life obsession with the Swiss ​‘Re-doubt’; a kind of speculative Cold War community fall-out shelter. It’s by no means the grandest film at this year’s festival, but it’s built with sturdy ambition and a heart of gold, and Lavant is in his absolute element as the agitated, toiling farmhand.