It’s surprising, perhaps, that the dramatic potential of chess hasn’t been more widely exploited. There was a nail-biting tournament in From Russia with Love, while the knight’s chequerboard struggle with Death was the centrepiece of Ingmar Bergman’s The Seventh Seal. In 1972 the game became a proxy for global power politics when Bobby Fischer beat Boris Spassky in Iceland, an event former world champion Garry Kasparov called “a crushing moment in the midst of the Cold War”.

Kantemir Balagov’s second feature announces the arrival of a major new talent in arthouse cinema.

David France’s revelatory film may have been subtitled “The Gay Purge”, but from the start it was clear this wasn’t just another documentary from Russia charting the increasing pressure faced by that country’s queer community.

November 1979… and a small group of Soviet composers (dubbed the "Khrennikov Seven") unexpectedly found themselves the targets of a boorish public assault by that once infamous General Secretary of the Union of Soviet Composers, in a speech at the organisation’s Sixth Congress in Moscow, describing them as “pretentious… pointless… sensation seeking… noisy filth… a so-called ‘avant-garde’…” Dima and his wife, Lena Firsova, were among that seven, along with Denisov, Gubaidulina and others. Their offence?

Alexander Tolotukhin’s debut film places the viewer into a microcosm of the first world war and frames the experience with a peculiar musical device. Spliced between grainy images of trenches, artillery strikes and field hospitals are shots of a contemporary orchestra preparing and then performing the soundtrack to the film.

It’s hard to feel sympathy for a young man plotting to stove his prospective father-in-law’s head in with a hammer. But when Matvei (Aleksandr Kuznetsov) discovers his quarry is bull-necked cop Andrei (Vitaliy Khaev), this simple plan inevitably suffers violent complications.

Director Oleg Stepchenko’s follow-up to his 2014 yarn Forbidden Kingdom swaps the latter’s Transylvania for a fantastical computer-generated frolic round 18th century Russia and China, as pioneering cartographer Jonathan Green (Jason Flemyng) sets out to map the extremities of the known world.

“The whole world is just tilting at the moment,” we’re told near the end of Wild, the Mike Bartlett play from summer 2016 that is available (through Sunday) online to help get us through these wild times right now.

Director Nick Green’s new three-parter follows on the heels of his A Dangerous Dynasty: House of Assad and comparisons are sure to be made between his two subjects.

Once upon a time writing an opera was first and foremost a question of choosing a good story. But times move on, and today – as Nicholas Till reminds us in a fascinating programme note for Philip Venables’s and Ted Huffman’s new chamber opera – the medium is the message, and the how has become at least as important as the what.