The mother, so often a sentimental figure in art, can be as tenacious and bold as any animal when protecting her young. Mark Hayhurst's play about Irmgard Litten, mother of Hans, a lawyer who cross-examined Hitler – and won – in 1931, celebrates the single-minded determination of a woman daring to take on Nazi might in the cause of her son. Hans was imprisoned in Sonnenburg "for his own protection" on the night of the Reichstag fire in 1933 and, after spending years in concentration camps, was found hanged in Dachau in 1938.

Part of a series of programmes marking the 70th anniversary of the liberation of Auschwitz, The Eichmann Show was a 90-minute account of how the 1961 trial of Adolf Eichmann, one of the SS's most enthusiastic engineers of the Holocaust, became "the world's first ever global documentary series". The key men in making this happen were TV producer Milton Fruchtman and renowned documentary director Leo Hurwitz, the latter a victim of McCarthy-era blacklisting in the USA.

It is 30 years since Shoah. In the filmography of the Holocaust Claude Lanzmann's document is the towering monolith. At nine-and-a-half hours, it consists of no archive footage at all, just interviews with witnesses unburdening themselves of memories. Of all those conversations, there was one in particular which Lanzmann held back. After the three and a half hours of The Last of the Unjust, it is clear why.

Alan Yentob’s culture programme, Imagine, returned for its autumn season with a two-part examination of one of the most potently disturbing episodes in the history of art, let alone culture. Even before the programme’s title, masterpieces by such as Kirchner, Beckmann and Klimt flashed before our eyes. Thus began an exploration into how Hitler – a failed art student -– acted out his hatred of the great art of the 20^th-century avant garde, which he thought to be as sickly and degenerate as the Jews he was also determined to destroy.

And so, I finally come to write of Anselm Kiefer, and with something of a heavy heart, as heavy, I’d vouch, as one of his load-bearing canvases. 

Against the background of the spectacular scenery of Patagonia, Argentinian director Lucia Puenzo creates a tight, subtly unnerving thriller in her third film Wakolda. Its American release title “The German Doctor” reveals its subject more immediately, which is the time spent by Nazi physician Josef Mengele (Alex Brendemuhl) in Latin America after his flight from Europe.

This German-made drama about World War Two scored huge ratings when it was shown in its homeland last year, but has also prompted scathing criticism. Chiefly, its detractors don't buy the series' portrayal of five photogenic young German friends as largely innocent victims of Nazism. Some are also outraged by the way Poles are shown to be even more anti-semitic than the Nazis, though that didn't occur in this first episode, A Different Time. 

Derived from Markus Zusak's bestseller, director Brian Percival's movie is well cast and brimming with good intentions, but it's too long, too safe and too uneventful to do justice to its subject matter. The story charts the rise of Nazi Germany through the eyes of Liesel Meminger and her adoptive parents the Hubermanns, but the horrors are sanitised and the anticipated emotional punch is never delivered.

In 1998, as I was driving home and flipping through the radio channels, a piece of music caught my ear. A string trio. With elements of Bartók , Stravinsky and maybe Janáček? And yet I was pretty sure none of these composers had written for this combination. I pulled over and sat transfixed  by the side of the road until the announcer said: “that was a string trio by Gideon Klein”. Who?

We know, not least through her own account, of Marianne Faithfull's colourful progress as winsome Sixties pop star, lover of Mick Jagger, junkie on the streets of Soho and her artistic rebirth as gravel-throated chanteuse. Here, her frequently gruelling trawl through archives from the 1930s and '40s helped to explain how she became the artist she is, while throwing up some morbidly fascinating details about the inner workings of the Third Reich.