I hope it isn't giving too much away for iPlayer catcher-uppers to say that in the end Sarah Lund never did get that undemanding desk job. Instead, the third outing for this ferociously gripping Danish series dragged us screaming and biting our nails right down to the wire, and managed to reach a conclusion simultaneously shocking and saddening yet, in a way, satisfying too.

Some say director Thomas Vinterberg has never equalled his triumph with Festen (1998), but with The Hunt it's time for everyone to think again. An assured and claustrophobic drama which ruthlessly picks apart the seemingly civilised facade of a small Danish town, it's a film that reverberates in the imagination and proves yet again what a fine actor Mads Mikkelsen is.

Zipping her trousers while coming out of a toilet cubicle, Sarah Lund continues the phone conversation that was on-going while she was in there. Making for a sink to wash her hands, she ignores the puppyish man trying to attract her attention. Nothing is going to distract Chief Inspector Lund, whether it’s the call of nature or the new police kid on the block.

How much suffering is it possible to take? Can suffering be depicted on film in a way which evokes its true depths? Is it possible to draw anything positive from a film that succeeds in capturing the essence of suffering? In short order: the human spirit can surprise; yes; yes. Carl Theodor Dreyer’s The Passion of Joan of Arc (La Passion de Jeanne d'Arc) is a film that still affects and has an ominous power, despite being silent, being made in 1928 and eschewing the overly demonstrative. It’s also strikingly timeless.

There was a time when we’d have felt withdrawal symptoms over the absence of The West Wing or The Sopranos, or The Wire; invariably it was American television that had its hooks in us. Now it’s Danish. And it’s time for a fix. Cue The Killing, which returns to add its own particular chill to the winter.

It’s not quite Iggy Pop strutting across the hands of the crowd, but Efterklang’s singer Casper Clausen's departure from the stage reinforces the bond the Danish mood musicians have with their fans. Trying to keep upright while wobbling on the backs of seats, he is held in position by those close by. This isn’t about attracting attention, but a bridging of the gap between artist and audience. Earlier, Clausen and bassist Rasmus Stolberg had retired to the side of the stage to take in the Northern Sinfonia’s performance of their music.

Featuring a towering, Cannes-award-winning performance from Mads Mikkelsen, The Hunt (Jagten) is a humane and horrifying story of the power of accusation from Danish director Thomas Vinterberg (Festen).

Sometimes, it doesn’t matter who you are. You might be a charismatic performer, or the most energetic band in the world. But some settings can’t be outperformed. Holding Berlin Festival at the city’s astonishing out-of-commission Tempelhof airport sets a challenge that’s almost impossible to rise to. Although it began working in the late 1920s, the surviving buildings were completed in 1941 and form a single block over a kilometre long, wrapped around an open quadrangle. The gleaming, pale buildings dwarf anything.

“I have done stuff,” says Stefan. “But that doesn’t mean I’ve done this." He has been arrested driving the car of a woman killed a short time earlier. Although an instant suspect, it’s soon clear his story and that of the victim’s sister don’t tally. Murder wasn’t a whodunit or a procedural, but a point-of-view rundown of the aftermath of murder. It was also grim, unflinching and memorable.

“It’s a place where human beings don’t belong,” says Efterklang’s Rasmus Stolberg. “It’s a very inspiring place, but a very sad place”. The Danish band’s new album, Piramida, is built around sounds they recorded in Pyramiden, a former Russian mining settlement on the island of Spitsbergen, north of Norway, close to the North Pole. It was abandoned in 1998. The climate means nothing decays.