Malindadzimu starts as a sharp-tongued Zimbabwean-British mother-and-daughter clash and ends as a drum-beating, foot-stomping spiritual African rebirth.

African women dominate the double-bill at the Arcola’s outdoor theatre, and Nigerian and South African men don’t cover themselves in glory in either play.

Is this story relevant, asks Diane Page, director of the revival of Statements After An Arrest Under the Immorality Act, set in apartheid South Africa and revived at the Orange Tree Theatre.

Sabaya is the first Yazidi thriller. And it has a particularly powerful —and upsetting — impact because it’s a documentary.

Silent Voice is a claustrophobic, intense documentary about a few tormented weeks in the life of a Chechen refugee whose face cannot be shown and whose voice cannot be heard.

With travel still iffy, the Royal Geographical Society’s Earth Photo exhibition offers a chance to glimpse aspects of the world without leaving London.

Lava starts as a migrant’s story and ends as an affirmation of black humanity. Sadly, both migration (“We didn’t have a lot, but had the means of making a home elsewhere”) and racism still need passionate advocacy.

Changing Destiny opened its run at the Young Vic with an audience roar. Actor Ashley Zhangazha declared, “It’s great to be back” after 18 months without theatrical lights, and the theatre erupted with cheers and applause.

A small group of men watch resignedly, silently, as a Post Office van stops at the handful of homes on a bleak Hebridean island. An opera singer fills the soundtrack.

The Overseas Student standing on the stage of the Lyric Hammersmith recalling his three years in London is Gandhi long before the earned the honorific Mahatma.

The Nigerian twin brothers who directed Eyimofe (This Is My Desire) and the two lead actors are the stars of this fascinating film – and so is Lagos.

Don’t be deceived by the hype: the Dulwich Picture Gallery bills Journeys as a collection of paintings that throw light on the nature of migration from the 17th century to today.

All is not what it seems at ‘Reflections: contemporary art of the Middle East and North Africa’ at the British Museum.

‘Flight’ is an epic refugee story on a miniature scale.

Lipstick and love songs prove more alluring than Buddhist bells and a quiet Himalayan village life for a young Bhutanese monk in a new documentary, Sing Me A Song.

Joseph Conrad’s Heart of Darkness is a novel more quoted - often misleadingly, to make a contemptuous point about Africa - than read. But here’s a film that gives the book an original, urgent and powerful update.

A crowd patiently waits in the town square for the President who has agreed to discuss complaints about post-conflict development. Finally a helicopter appears – and flies on because the President has changed his mind.

Thousands of civilians around the world are caught in the crosshairs between army and rebels, with one set of armed men raping, pillaging and burning before abandoning the territory to the next bunch of brigands.

The opening shots of I Am Samuel encapsulate the dilemma of this documentary about a gay Kenyan couple: its gentle opening moments are shattered by a shockingly violent public homophobic attack.