Proper music tells stories just about itself, the stern pedagogues insist; it doesn’t (or anyway shouldn’t) paint descriptive pictures of places and people. Well, maybe not – but it was hard to banish all thoughts of geography, even of biography, at the Proms as the BBC Philharmonic under Eva Ollikainen travelled from Anna Thorvaldsdottir’s chthonic Iceland to Sibelius’s composite Italy-Finland by way of the intensely subjective journey embodied in Elgar’s Cello Concerto.

With its wild, windswept seascape and cliff-top settlement, the first scene of The Northman, Robert Eggers’s first big-budget movie (around $90 million in the making), harks back, a little, to The Lighthouse (2019), a one-of-a-kind black and white marvel with only two protagonists. (Cinematographer Jarin Blatschke has worked on all Eggers’s films, including his first, The Witch, as has costume designer Linda Muir).

Thora Hjörleifsdóttir’s Magma is certainly not an easy read. It describes, in short chapters, the obsessive and ultimately destructive power of an abusive relationship.

Odin’s ravens Huginn (thought) and Muninn (memory) are the great Norse god’s messengers, at the heart of a myth that was borrowed in watered-down form for Game of Thrones. The myth inspired a suite of pieces by Sigur Rós and a star-studded group of Icelandic friends and collaborators.

This Icelandic film begins in the titular land of steam, as rain and mist envelop an erratic car which soon tumbles to its doom.

Like Rams before it, the ice-glazed hillsides and stark ochre grasslands of northern Iceland are the backdrop for Grímur Hákonarson’s third feature The County, a rural drama that explores the murkier side of local politics.

We’ve had Chess the musical; now, here’s Chess the play. Tom Morton-Smith, who has experience wrestling recent history into dramatic form with the acclaimed Oppenheimer, turns his attention to the 1972 World Chess Championship in Reykjavík, in which American challenger Bobby Fischer battled the Soviet Union’s Boris Spassky.

Grimes, the Canadian art pop performer, made headlines last week when she predicted the end of musical performance as we know it on a podcast interview with theoretical physicist Sean Carroll. Live music, she said, would be “obsolete soon”, while she gave a window of a couple of decades in which artificial intelligence would become “so much better at making art” than human creatives.

At a point in history where – yet again – a few misplaced words from English politicians could wreak havoc with Irish lives, this is a welcome revival of Ian Rickson’s stunning production which first played here to rapturous reviews last year.