No 'Strange Days', no list (although at least you've got 'Near Dark' on there).
As far as I'm aware (and it's not my field so I could be wrong), there aren't any dedicated facial animation packages any more (I believe Softimage's FaceRobot got Borged into Autodesk's vast technology pool) - facial animation is a joint effort between character modellers, riggers and animators - each generally specialists in their field.
The modellers will create a head with the right topology for the necessary deformations and if necessary, specific blend shapes (morphs) to hit key poses, mouth shapes etc. The riggers create weight maps to control how specific regions of the mesh deform as well as the underlying skeletal structure the motion capture data is retargeted to and lastly the controls the animators will use. The animators then take the mesh, the rig and the mocap data and animate over the top building up layers of believable nuance and personality whilst also fixing anything that's broken.
All that's a gross simplification of course, which doesn't even take into account the cleanup of the mocap data which happens before it gets remapped to the mesh.
Oh Ben! It hurts me to watch it (I'm a BMPCC shooter too). Next time you use a tripod or a slider, please take the time to level it (or at least straighten your shots in post) - if 'dutching' the shots was intentional then take a page out of Sam Raimi's book and do it right ;) You really need to work on your lighting - horror films don't have to be dark - atmosphere is what you want. You really starved the camera of light and the PCC's wonderfully cinematic image just ended up looking like a cheap consumer video camera. On the positive side, hey - you made a film - congratulations! And your sound isn't horrible but overall I'm sure you can do much better - good luck with the next one!
Rendering has gotten faster thanks to GPUs but what this article doesn't take into account is the huge amount of work that goes into cleaning up and refining motion capture data. Andy Serkis' Oscar was controversial because once the raw data has been worked on painstakingly by hand by a team of artists, very little of the original performance is likely to remain. Serkis may have deserved an Oscar for his performance capture work but the CGI artists that brought those performances to the screen are at least equally deserving of recognition.
Performance capture is getting better all the time but it's still not up to the task of capturing subtle emotional nuance - and even when it finally can, layers of animation work will be added to refine the final look. We'll see fully photorealistic CGI actors in lead roles one day - mostly Hollywood legends that have passed away I suspect (at first, anyway) but it'll be some time before it's cheaper to use a digital Tom Cruise than the real one.
Sorry to hear you've had issues Sophie - I shoot with Blackmagic cameras but always take time to explain the pros and cons. It's really not too much of a hassle to transcode to another format using Resolve (assuming you can run it) - if you'd like some tips/advice feel free to contact me at andrewmorgan 'at' me.com - best of luck with your film!