The intense relationship between a single parent and a single child is ramped up to its highest level when it involves a mother whose daughter has learning disabilities. From that dynamic, writer Ben Weatherill has crafted a warm, engaging and moving play about Kelly and her mum Agnes.

An apocalyptic title proves somewhat of a red herring for a slight if intriguing play that returns the dream team behind Harry Potter and the Cursed Child to their erstwhile stomping ground at the Royal Court.

Mirai made animation history when it was included in the Director's Fortnight at Cannes in 2018, the first Japanese anime feature to be so honoured. It went on to be nominated for an Oscar.

“How much does she owe us?” So ponder the now estranged parents of a former tennis pro, as they calculate the very literal investment they’ve put into their daughter.

Mari is one part kitchen sink drama, one part dance performance, bringing a refreshing take on bereavement and family. Dancer Charlotte joins her mother and sister at her dying grandmother’s bedside, and tensions rise as cabin fever sets in.

Always leave them wanting more, a wise man once said, and there can’t be a single fan of Mum who doesn’t want its creator, Stefan Golaszewski, to change his mind about making the third series the last. But then, when you achieve perfection perhaps it’s best to sign off at the top; the finale was just scrumptious.

According to their mother, Luda (played by Madeleine Worrall, pictured below), each of the three sisters (pictured top) in Napoli, Brooklyn, bears one of their father’s admirable traits. Tina (Mona Goodwin), the oldest, who left school early to earn money for the family in a factory job, has his strength. Vita (Georgia May Foote), who is smart but has been banished to a convent school for crossing her father, has his tongue.

A chronic recycler, Dennis Potter fashioned five feature films from his earlier TV dramas and another from one of his novels. The best of them are 1985’s Dreamchild (from the BBC's Alice, 1965) and Track 29 (1987), which he adapted from the BBC's Schmoedipus (1974).

Chilean Dominga Sotomayor’s third feature is a beautifully crafted example of the kind of Latin drama that is slow-burn and sensorial, conveying emotion through gestures and looks rather than dialogue or action. Nothing much seems to be happening, but before you know it you’ve been completed sucked in.  

Like Snowpiercer before it, Bong Joon-ho’s rage-fuelled satire Parasite puts class inequality squarely in its sights.