The career of Rodrigo Sanchez and Gabriela Quintero is an anomaly. It’s heartening that such curveballs occur, with artists taking an alternative, individual route to success. To those with any rock’n’roll romance left, it’s a sign that, even in these ADD., Tweet-trending, homogenous times, there are still unexpected ways for atypical acts to sustain a career. The pair were metal-loving Mexican teens who became virtuoso acoustic Dublin street buskers, leading to an Irish hit album and, eventually, a global career that’s seen them working on Hollywood blockbusters.

John Adams’ millennial conflagration of musical poems about childbirth, destruction and the divine made manifest not only served as a seasonal farewell and a transcendent epilogue to the Southbank’s year of 20^th-century music The Rest is Noise; it also stood pure and proud as a masterpiece.

Clocking in at a comparatively lean 102 minutes, 2 Guns is a speedy and rumbustious buddy movie in which Bobby Trench (Denzel Washington) and Stig Stigman (Mark Wahlberg) form a wisecracking, fast-shooting duo forced to abandon their mutual suspicion and pool their wits to battle swarms of double-crossing bad guys.

Post Tenebras Lux is a hard film to love, but it is one which engrosses. Although riveting, its appeal is akin to the fascination exerted by catastrophes and car pile-ups. Fittingly, the taste it leaves is bitter. It’s also hard to digest. Contrary to the title – light after darkness – there’s little to suggest either salvation or a path towards redemption.

Last night saw the launch of the second edition of the enterprising MexFest at Richmix in East London– a celebration of all things Mexican (film, architecture, food and music in particular). The opening film was introduced by Baroness Jane Bonham Carter, the UK’s trade Envoy to Mexico, who announced 2015 would be Mexican Year in the U.K. which will showcase the best of the country's creativity.

Artists love a good revolution. The social upheaval, the bubbling up of new ideas and the breaking down of old ones, attracts them like flies to fly paper. The Mexican revolution was no exception. During the years 1910-1940, Mexico attracted large numbers of international intellectuals and artists, seduced by the political maelstrom and apparent freedoms that beckoned in this culturally diverse and varied land.

Lake Chapalá begins just south of Guadalajara in the state of Jalisco. In case there’s any doubt we’re in Mexico, a mariachi band are propositioning the families who stroll along the waterfront and doing good business in their silver tunics and red cummerbunds. A shoeshine boy with his box and brush is pointing hopefully at dusty footwear, and another boy is selling hammocks. Couples are sweetly holding hands on their Sunday-morning paseo. It’s a tranquil scene.

Remember the Brass Band Battle of a couple years ago? The one that pitted Romania’s Fanfare Ciocarlia vs Serbia’s Boban & Marko Markovic Orkestar on CD and stage? The concert at London’s Koko was great fun, less a "battle" and more a good humoured showcase for two great Gypsy brass bands to tear it up.

The annual Sadler’s Wells Flamenco Festival is a hidden treasure-house of brilliance, too quietly sneaking into London in the unappealing limbo between winter and spring, but surely one of the great global gatherings of the dazzling individualists in this mysterious dance form. Flamenco ranges from the red-top populists like the ebullient exhibitionist Farruquito to the wilfully innovative Israel Galván, who lit up two Sunday nights in a row which both brought the house to their feet in ovations.

In Post Tenebras Lux (light after darkness, in Latin) Mexican writer-director Carlos Reygadas casts a spell which transforms the ordinary into the extraordinary. The human condition is eye-poppingly explored in this ambitious, sometimes puzzling work of visual poetry, buoyed by the innocence of children and mired in the contrasting anxieties of their parents. Whether it's sexual neurosis, the natural world, or kids at play it's all too beautiful.