Like Steptoe and Son with ideological denouncements, Stalin’s Politburo have known each other too long. They’re not only trapped but terrified, a situation whose dark comedy is brought to a head by Uncle Joe’s sudden, soon fatal stroke in 1953.

The Kabakovs' exhibition made me thank my lucky stars I was not born in the Soviet Union. A recurring theme of their work is the desire to escape – from the hunger and poverty caused by incompetence and poor planning, and the doublethink required to survive under a regime that became ever more repressive the greater and more obvious its failings.

It’s getting to that time of the century. A hundred years ago to the month, if not quite the day, the Winter Palace was stormed, and the Russian Revolution came to pass. To commemorate the communists’ accession, Russia 1917: Countdown to Revolution (BBC Two) pieced together the narrative for those who haven’t read all or indeed any of the books on the Bolsheviks.

Over his long career – 23 novels, memoirs, his painfully believable narratives adapted into extraordinary films (10 for the big screen) and for television – John le Carré has created a world that has gripped readers and viewers alike.

Revolution - New Art for a New World film starts well: the opening shot (main picture) is of young women painting white letters onto a red banner. “We all knew what to paint,” says the voice-over. “Bread, Work, Vote, but the message was ‘Women of the World Unite!’” 

Beethoven: Piano Sonatas Op.110 and Op.111, with music by András Szöllösy and Gyula Csapó Gábor Csalog (piano) (BMC)

There’s rich irony in the timelining of 1940s Chinese blockbuster The Spring River Flows East.

This must be the most depressing exhibition I have ever seen. Dedicated to the leaders of the Russian Revolution, the first room features official portraits by Isaak Brodsky of Lenin and Stalin plus drawings and models of Lenin’s vast mausoleum in Moscow’s Red Square.

The 30th anniversary of the death of Andrei Tarkovsky – the great Russian director died just before the end of 1986, on December 29, in Paris – will surely guarantee that his remarkable body of work receives new attention, and this month distributor Artificial Eye launches a programme, Sculpting Time, which will see new digitally restored versions of his seven films being re-released around the country.

Georgian director Zaza Urushadze’s Tangerines made the shortlist of five for last year’s Best Foreign Film Oscar category (it didn't win). It was nominated from Georgia, but could equally well have represented Estonia: this incrementally powerful anti-war film is that rarest of things, a co-production between two rather different countries with a story that draws genuinely on the worlds of both.