AS the main course of another blockbuster season is cleared away, there’s chance this week to close the Summer with a refreshing and flavoursome dessert.

From the American menu is served Theater Camp, a fresh comedy from directorial debutants Molly Gordon and Nick Lieberman. More locally, Charlotte Regan’s Scrapper finds magic in the UK’s kitchen sink.

Though divergent in tone and tale, the two are alumni of this year’s Sundance Film Festival, having premiered within days of each other back in January. What’s more, both have been met with critical acclaim. Now there’s a treat.

A ramshackle stage camp in upstate New York, AdirondACTS is the haven haunt of budding young thespians.

Each summer, the wannabe stars of tomorrow’s Broadway glory gather in celebration of all things theatre. Teachers include Ben Platt’s Amos Klobuchar and Nathan Lee Graham’s Clive DeWitt, plus Gordon herself, who plays Rebecca-Diane. They’re all crackers.

Amy Sedaris cameos as AdirondACTS founder Joan, a battleaxe if ever you saw one. When Joan falls hard into a coma, however, it falls to her clueless “crypto-bro” son Troy (Jimmy Tatro) to keep the camp alive. That’s no mean feat.

With financial ruin on the cards, Troy must join forces with the camp’s teachers and students alike to come up with a solution before the curtain rises on opening night.

Mockumentary visual styling gifts Theater Camp a razzmatazz energy, boosting an already consistently funny script by Gordon, Lieberman, Platt and Noah Galvin, who also stars. It’s great.

As is Scrapper. Here, newcomer Lola Campbell is quietly commanding as Georgie, a 12-year old living alone in East London following the recent death of her mother.

Unwilling to enter the foster system, Georgie has crafted a web of lies to convince social services of her ongoing wellbeing. It’s a ruse dependent on negligent adults and Georgie’s capacity to make ends meet by stealing bikes and flogging them on.

Georgie’s uneasy balance tips, however, when a knock on the door brings back into her life her long absent father Jason, who is played by Harris Dickinson.

This is a gorgeously shot film, the grittier narrative offset by pastel colouring and Regan’s eye for visual wonderment. There’s immense tenderness in the writing too, which is brought into charmed reality by Campbell and Dickinson. Both are excellent. You’ll be aching for seconds.