Hind Meddeb’s documentary is called Sudan, Remember Us. And we should.

Unsilenced: Sexual Violence in Conflict is tough viewing, and some people understandably will not want to see it.

Little Brother is Ibrahima Balde’s extraordinary journey from a Guinean village, across a desert dotted with the bodies of migrants, hours of feet-blistering walking, to torture, slavery and vile racist abuse (“Libya is not a place for the living”), and to an overcrowded slowly-sinking boat to Europe.

Snakes rarely get a good press, but they almost steal the show in the British Museum’s exhibition, Ancient India: living traditions.

Ignore the title, Insane Asylum Seekers, which suggests a whacky comedy straining for laughs. Think instead of an intimate, brilliantly written and performed monologue about a British Iraqi family.

Documentaries don’t get more esoteric than Threads Of A Revolution: it’s about a woman’s tenuous connection to a little-known social experiment in an unreported part of the world.

“All of human history? It’a basically people taking things from other.” A 1,000-year-old statue is moved from the British Museum to a Chinese airport.

Lessons on Revolution is like a dramatic, imaginatively presented lecture, which is appropriate since it’s about a 1968 London School of Economics student uprising.

The Guest is about global heating and refugees, about walls against strangers, about suspicion and trust..

Is it not a little odd that the first three drivers on a speed awareness course are British Asians, as is the instructor?

A play about an international climate conference in 1997, I hear you say. Sounds boring, you add.

But you are so, so wrong.

Kyoto is a rip-roaring, piledriver of a play. 

Khawla Ibraheem got the idea for her monologue, A Knock On The Roof, about four years ago. Conflict in Gaza has made it even more topical. That’s hardly surprising, as the latest war is not the first even for her sole character’s six-year-old son.

For a play about India, Prime Minister Jawaharlal Nehru’s 1947 “Tryst with Destiny” speech is the equivalent of  Russian playwright Anton Chekhov’s dictum that "a gun shown in the first act will inevitably be fired later in the play".

The three couples in A Good House are unsettled by a seventh character: a shack with no known owner and no known occupants.  

What Have We Here? does what museums all over the country should be doing: taking a fresh look at their exhibits and captions and suggesting new ways of showing and explaining them.

Remember the shocking scandal of the gangs of predatory men, mostly British Pakistanis, who sexually exploited girls in Rochdale and Rotherham at the turn of the century?

See Frankie Lucas winning a national boxing title twice and follow his dreams of sporting glory. But his rise is far from straightforward. So is his downwfall.

The first sniff suggests an earnest, jerky, home movie. Stay with it, and watch this introspective documentary infiltrate your brain.

China meets Ethiopia, modernity meets tradition, capitalism meets community in Made In Ethiopia. And “meets” is a euphemism for clash.

Women Who Blow On Knots is an adaptation of journalist Ece Temelkuran’s novel (120,000 copies sold in her homeland, Turkey) about a road trip by four women amidst the turmoil of the Arab Spring.