Published in the year following Orr’s death at the age of 57, Motherwell is an analysis of the author’s childhood in Motherwell, on the outskirts of Glasgow, and her first steps into adulthood. However, while this book is ostensibly about Deborah Orr the child, it is as much about her parents, John and Win, and about Deborah Orr the adult. Everything seeps into everything else, just as Win seeped into Orr’s life, claiming her daughter’s whole being as her own.

The Cakemaker is Ofir Raul Graizer’s debut feature, and the film must somehow reflect the parabola of the Israeli-born director's life: it’s set between Berlin and Jerusalem, the two cities apparently closest to him, and one of its main subjects – alongside weightier themes such as grief and loss – is food, especially the r

Oh how British indies love a road trip. Trekking across the rugged landscape, meeting a colourful cast of characters, realising it’s not the destination but the journey. It takes something special to stand out from the pack. The Runaways, debut feature from Richard Heap, has that something special.

It's the smallest lies that can bring you down. When he is asked by a detective how he got on with his family, who have just been murdered in a mass shooting at their Essex farm, Jeremy Bamber (Freddie Fox) says: “Really well. We were friends.” A quizzical look briefly scutters across the face of his cousin Ann Eaton (Gemma Whelan) who overhears.

The Tyler sisters start as they mean to go on: bickering. Middle sister Gail (Bryony Hannah) has come home from uni to find that youngest Katrina (Angela Griffin) has stolen her room. “What about Maddy’s? Why didn’t you take that?” Gail snaps. “She’s in it,” Katrina points out. “I am in it, to be fair,” confirms eldest Maddy (Caroline Faber), trying her best not to take sides. “I am actually in it.”

What joy to be back with the Shipman and West families, created by writing team James Corden and Ruth Jones.

Two young boys play by the water. Soon, one is dead. This enigmatic tragedy is the core of a four-decade Chinese saga of grief, guilt and love, at once intimately personal and scarred by the state’s grinding turns.

Elizabeth Strout is fond of plain titles. Much as her stories are interested in subtlety – the quiet complications and contradictions of ordinary life – her books advertise themselves by means of telling understatements. Olive, Again follows ten years on the heels of her Pulitzer Prize-winning “novel in stories” Olive Kitteridge, which painted a resonant, emotionally complex portrait of a community in fictional Crosby, a small coastal town in Strout’s native Maine.

Of all the groups you probably wouldn’t want to be part of, surely the hyper-adrenalised, hardscrabble populace of The Wolf of Wall Street, the Jordan Belfort memoir made into an amphetamine rush of a film by Martin Scorsese, must rank near the very top. And yet here, against expectation, is an immersive theatre adaptation of the non-fiction memoirs that spawned the 2013 movie.

Ivo Graham's latest show The Game of Life follows on from his previous hour, in which he talked about passing a milestone in life and the prospect of starting a family.