There’s a rather sublime equilibrium to Arthur Miller’s 1968 play between the overwhelmingly heavy weight of history and a sheer life force that somehow functions, against all odds, as its counterbalance.

The opening shot of Jan Němec’s 1964 debut feature, Diamonds of the Night, recalls the start of Orson Welles’s Touch of Evil.

Learning that your band’s demos are being issued as an album must be infuriating. Add to that the discovery that the deal to release the LP was made without your knowledge. Then, there was the further surprise that the record was to be released by Parlophone, The Beatles’ label. The complications were compounded by subsequently realising the release wasn’t limited to the UK – inexplicably, the record was also issued in Venezuela

With five nominations, Green Book is cruising optimistically towards Oscar night, but it’s not all plain sailing for director Peter Farrelly’s mixed-race fairy tale about a posh black musician and his thuggish Italian minder.

If we think of Robert De Niro and Brian De Palma, we likely think of The Untouchables from 1987 with the great actor in his career pomp, chewing up the scenery in a memorable cameo as Al Capone. However, the pair had history.

In this memoir, subtitled “Paris Among the Artists”, Michael Peppiatt presents his 1960s self as an absorbed, irritatingly immature and energetically heterosexual young man let loose in Paris to find himself (or not).

Following Caroline, or Change and Fun Home, the UK is blessed with another work from American composer Jeanine Tesori; this is the British premiere of her 1997 musical Violet, which had a Sutton Foster-starring Broadway production in 2014. If not as refined as that exquisite duo, it’s still a compelling piece, thanks to a ravishing score and a dynamite central performance.

This is a love story and a ghost story. The year is 1934 and the Held family have moved from the countryside to an elegant house on Katalin Street in Budapest. Their new neighbours are the Major (with whom Mr Held fought in the Great War) and his mistress Mrs Temes, upright headteacher Mr Elekes and his slovenly and unconventional wife Mrs Elekes.

Without the necessary distance, characterising last year through its pop music is a mug’s game. A gulf of 50 years would bring some perspective. Nonetheless, in spite of that interval there are difficulties in creating a fitting soundtrack to 1968 – especially when using its singles as the emblematic markers.

Věra Chytilová’s 1966 film Daisies almost defies description, though what initially seems like 75 minutes of plot-free silliness does coalesce into something bordering on the coherent. Not that there’s anything wrong with that, to quote Seinfeld. Daisies is what it is, and approaching it with open eyes is a whole lot of fun.