It’s difficult to give Simon Russell Beale a brief introduction, so encyclopedic is his list of stage and screen acting credits. He has cruised masterfully through Shakespeare, Ibsen, Chekhov, the Restoration playwrights, Shaw and Pinter, and recently camped it up madly in a revival of Peter Nichols’s Privates on Parade. He has been such a mainstay of the National Theatre that the building may have subsided into the Thames without him.

A young man eaten up by fears of inherited disease, a mother who hid the facts of her awful marriage from her son to spare him, but is rewarded with even worse pain: the emotional plotlines of Henrik Ibsen’s Ghosts are huge. While the plot ticks off taboos - incest, rebellious women, euthanasia - deep at the heart of it is an atavistic fear in all of us that we will die in fully conscious agony, eaten up by a madness wished on us by someone’s selfishness or stupidity.

For a remarkable BBC Radio Four half-hour programme broadcast on 14 September, The Stasi Jigsaw Puzzle, Chris Bowlby pieced together tales of treachery in the former German Democratic Republic. At one point a 1950s recording of a trial of a woman was played. Her cries above the rasping sound of the judge, if that’s what he was, sentencing her to death was one of the most harrowing things I’ve ever heard.

As an art school the Bauhaus has a reputation for being the cradle of modernism, famous for establishing an alliance between art and industry which produced enduring design classics such as Marcel Breuer’s tubular steel chairs, Josef Albers’ silver and glass fruit bowl and Marianne Brandt’s elegant globe lamps. But that is only part of the story.

The Human League: Dare (Deluxe Edition)

Thomas H Green

“I'm moving to Berlin.” In artistic circles and especially those that include electronic musicians, over the past few years such a threat has become so commonplace as to be cliché. It's not without reason, though. For one, despite gentrification, Berlin has endless space (and empty industrial artistic “spaces”) and its cost of living is about a two-hundredth that of London. And just as importantly, it is more soaked in electronic music than anywhere else on the planet.

In a pirate television (pirate television!) broadcast from 1992, a large group of Russian youths in flat top haircuts and leather jackets discuss Depeche Mode's appeal. “It's romantic style,” suggests one with absolute assurance, “it's music for the lonely.” It is just one touching, funny moment in a film packed with them, but it also sums up what The Posters Came From The Walls is about. This “music for the lonely” by a band of awkward blokes from Basildon has brought this group of young people together, as it has all the legions of devoted lovers of the band that we see throughout the 58 minutes.