Filipiñana is very slow, very quiet, very subtle — and utterly absorbing.

A family lives in a village on the frontline of the Vietnam War. The crossfire is dangerous and the eldest son is at risk of army call-up. He gets an engineering scholarship to Iran and after the fall of the Shah, Canada accepts him as a refugee.

White colonists glimpsed paradise when they reached the fertile highlands occupied by the Kikuyu people. So they seized the land. When Kenya became independent in 1963, the dispossessed inhabitants thought that history might be reversed.

Cotton Queen shows Sudan in a new light — or at least shows the country at a moment of change and with a touch of magical realism.

You know from the title where the production stands on the Palestine-Israel crisis: The First Year (of the Gaza Genocide in the Media).

Prolific and inventive as he is, writer Salman Rushdie turned his attempted assassination into a book, Knife. Now the book has been turned into a dramatic documentary, Knife: The Attempted Murder of Salman Rushdie.

With survivors and others affected still fighting for justice, Darkling is a story that must be remembered.

It’s really difficult to write about climate change for the theatre: focus on the global crisis and a play will lack personal drama; spotlight the personal and you risk losing the big picture.

Advance sales for the new Frida Kahlo exhibition topped 41,000, a Tate Modern record. At £25 a pop, it will be a commercial bonanza.

It’s street versus home in Ish, a coming of age story about a Muslim British Asian in the Bedfordshire town of Luton.

For a South Asian treat  and an eyeful of images go now to Christie’s, which is showing a wonderful, eclectic selection of paintings, sculptures and videos from the region.

Life Support is a doctors’-eye-view of the Israeli attack on Gaza. And what a visceral, appalling view it is.

‘This film will fry your brain’, proclaims a new documentary, Planet Israel.

I was in two minds about the new biopic of Nigerian-British photographer Misan Harriman — exciting shots of political demonstrations but is it a little too adulatory? —  until I read about right-wing cultural attacks on him.

What a tragically sad title for Itai Erdal’s monologue at the Finborough Theatre: Soldiers of Tomorrow.

What has Florence Nightingale got to do with the post-World War Two international development aid industry?

Theatre should make you think, but the Arcola is about to ask audiences to consider a particularly awkward and painful question: if you support international aid, do you really want to change the world — or do you just like the idea of helping?