The cancer weepie is knocked off its tear-jerking axis by Lulu Wang’s sly and heartfelt autobiographical tale.

New artistic directors are popping up all over British theatre. Every week seems to usher in a refreshingly versatile talent taking the reins of a major theatre.

Chinese director Jia Zhangke has made a masterful career from following the changes that his native land has undergone in the 21st century, catching the speed of its transition from old ideological order to the relentless dynamism of subsequent economic development – and, most importantly, the human consequences of the process.

Chimerica is a stage-to-screen adaptation that has certainly kept up with the times.

Theatre can give a voice to the voiceless – but at what cost? Abhishek Majumdar, who debuted at the Royal Court in 2013 with The Djinns of Eidgah – about the situation in Kashmir – returns with his latest play, Pah-La.

The story behind this first – and final – feature from the young Chinese film-maker Hu Bo is as sad as anything in recent cinema history.

The movie musical: money making or true art – or both? This was a programme to sing along to, in the company of Judy Garland and Gene Kelly, Elvis Presley and Cliff Richard.

After seeming to spend an interminable amount of time wandering around in a daze and blundering up blind alleys, Strangers finally gathered its wits and cantered towards the finishing tape with a renewed sense of purpose in the final two episodes.

The “portmanteau” form of film-making is almost guaranteed to deliver patchy results, and The Ballad of Buster Scruggs, the Coen brothers’ six-pack of tall tales from the Old West (screened at London Film Festival), can’t quite avoid this age-old trap. But it gives it a helluva good try, and even its less successful portions offer much to enjoy.

I’ve forgotten my wallet.