Westerns had long been popular with German cinema audiences, some of the most successful being early 1960s West German adaptations of novels by Karl May, a slippery late-19^th writer whose books were hugely admired by Hitler. East Germany’s state-run studio DEFA responded by producing The Sons of Great Bear (Die Söhne der großen Bärin) in 1966, the first of East Germany’s "Indianerfilme".

DEFA was East Germany’s state film studio, operating between 1946 and 1992. Among its vast output were four lavish science fiction adventures, released between 1960 and 1976 and shown here in gleaming new transfers. Each one, to varying degrees, depicts the future through a rose-coloured lens, the world evolving into a utopian socialist paradise where disputes are settled peacefully.

A traditional Korean house has appeared at Tate Modern. And with its neat brickwork, beautifully carved roof beams and lattice work screens, this charming dwelling looks decidedly out of place, and somewhat ghostly. Go closer and you realise that, improbably, the full-sized building is made of paper. It’s the work of South Korean artist Do Ho Suh (main picture).

In this new album, three top-flight musicians based in Berlin, guitarist Ronny Graupe, Lucia Cadotsch (voice) and Kit Downes (piano) work collaboratively, superbly, as a real team. The music, some well-known tunes which Cadotsch sings hauntingly, and some original tunes by Graupe – it’s hard to tell them apart – just flows superbly.

The best way to experience Ed Atkins’ exhibition at Tate Britain is to start at the end by watching Nurses Come and Go, But None For Me, a film he has just completed. It lasts nearly two hours but is worth the investment since it reveals what the rest of the work tries hard to avoid openly confronting – grief.

I’m all in favour of the EIF taking artistic risks, and of them bringing a high-prestige international production to Edinburgh. This Marriage of Figaro from Berlin’s Komische Oper is both of those things, because it is the first production by Kirill Serebrennikov – the high profile Russian director, placed under house arrest by the Putin regime, now based in Berlin – to be seen in the UK.

If Mark Twain thought that a German joke was no laughing matter, what would he make of a German comedy? 

Paavo Berglund: The Warner Edition (Warner Classics)

Successful performances, conductor Robin Ticciati once suggested to me, are when “the head has a conversation with the heart”. The same goes, surely, for great music, though from personal experience one has to reach a certain age to find that true of Brahms. Last night Igor Levit seemed to favour the head, occasionally missing, for me, that very elusive something at the heart of Brahms’s late piano pieces.

During his transformational time at the helm of the London Philharmonic Orchestra, Vladimir Jurowski conducted the complete Threepenny Opera in concert and two performances of Rachmaninov’s Third Symphony which changed my mind about its being good only in parts. Last night’s interpretation made his fellow Russian’s late fantasy billow and soar, while Weill’s Little Threepenny Music opened with sheer stylish delight in the song/dance numbers framed by incisive austerity.