Danny Boyle closed 2010’s London Film Festival, as he did 2008’s, and picked up a British Film Institute Fellowship to boot. His 127 Hours had at least one person I know covering her head with her coat during its already infamous auto-amputation-by-penknife scene, though it falls far short of Boyle’s previous triumph with Slumdog Millionaire. This hardly matters at a festival which, while derided by film journalists for its lack of global premieres, again gave Londoners like me two weeks to be lost in cinema.

Here, we present the exclusive first showing of a new video by the Brighton/London band Belleruche. This clip for “Fuzz Face” is highly arresting, an ingenious and slightly disturbing collision of hi and low-tech, made using thousands of photocopies, and its indicative of a band who are taking some very interesting ideas into the mainstream. But more importantly from theartsdesk's point of view, Belleruche's increasing profile is indicative of a broader cultural shift in the music world.

The annual Dance Umbrella festival is mostly for the dance industry to talk to itself, I’ve come to feel, with a timetable so closely packed that only Londoners, and specifically those in the tight roaring circle of the know, will get to sample much of it. Then you get two such stand-out evenings as Akram Khan’s and Jonathan Burrows’ in town within a week of each other, two of the major talents in the world, who come running at the idea of theatre from opposite ends - the one spectacular and melodramatic, the other offbeat, mischievous stand-up dance-comedy.

Ever since his award-winning debut From London to Brighton (2006), Paul Andrew Williams has been an exemplary British filmmaker of sparky, low-budget genre tales. Cherry Tree Lane is Straw Dogs in suburbia, a schematic and brutal home invasion film, full of fearsome but unfulfilled ideas on the terrors waiting at your front door.

The keyboard player usually associated with Paul Weller is "Merton" Mick Talbot, who, after leaving mod revival band The Merton Parkas, filled out The Jam’s sound in their twilight days and accompanied Weller’s journey through the Style Council. Andy Crofts of The Moons has made the journey in reverse: currently Weller’s live keyboard player, he also fronts and plays guitar with The Moons, a five-piece he formed in 2007.

Thirty-five years on and this is still as much David Hockney’s Rake as it is Stravinsky’s or W H Auden’s. How rarely it is that what we see chimes so completely and utterly with what we hear. The limited palette of colours, the precisely etched cross-hatching, the directness and the cunningly conceived elements of parody – am I talking about Hockney or Stravinsky? Two great individualists in complete harmony. So why the disconnection?

“There is a tradition of photographing people with Down’s syndrome, but not of positive, strong images of people staring back at you, challenging you to look at them. This exhibition reverses that. The images we produce are not sympathetic or sentimental, but strong and covering all aspects of life, and using contemporary photography to get our message across. We’ve turned the camera 180 degrees and now the former subjects are in control.”

It's very hard to ever know what to expect from Alan Moore, the Mage of Northampton. The author of era-defining comics like Watchmen, V For Vendetta and From Hell has long maintained that art and magic are one and the same, and since the mid-1990s his works have often tended to be long and complex explications of various occult principles, which while eye-opening can often lose readers in all their baroque unfoldings.