Over the past quarter century the reputation of toff playwright Terence Rattigan has been restored, mainly by strong stagings of his classic dramas, such as Deep Blue Sea. But his first smash hit, French Without Tears, has been the unicorn of his output – often talked about, often mentioned, often remembered, but never actually seen.

Ousmane Sembene is one of the pioneers of African cinema. Black Girl, the film that brought him international renown, has been beautifully restored for this DVD release, so that it looks as sparkling as when it was released in 1966.

The strength of this film is derived in large part from the potent creative forces that were unleashed when Senegal became independent, and was ruled by the visionary politican and poet Léopold Senghor.

For a band that makes such a vivid and irresistibly danceable sound, Caravan Palace’s ascent – ten years and three albums now – has been a stealthy one, built on the traditional virtues of word-of-mouth, and selling out gigs. On paper, combining traditional “hot” jazz, the dance music of the 1950s, with the sleek hedonism of electronic dance music seems both unlikely and unpalatable. On stage, and on record, it’s a riot.

The title of French director Lucie Borleteau’s first feature conceals a range of meanings. Fidelio is both the name of the enormous maritime freight vessel on which most of the action takes places, and a clear hint at “fidelity”, a concept with which its independent heroine Alice (Ariane Labed) negotiates throughout. If its French original, Fidelio: l’odyssée d’Alice, also suggests something else, the “Odyssey” of Alice’s journey meaning a return to the starting-point of home, then our expectations are challenged.

Managing the boundaries of closeness in documentary filmmaking can be a complicated issue. Does the documentarist figure only as a fly-on-the-wall observer – or become involved, caught up in the story of his or her subject? Is it possible to maintain a distinction? When, and what is going too far?

It’s a sunny afternoon at altitude – 1,082 metres, to be precise – in the precincts of France’s highest historic building, the austerely impressive early Gothic Abbey-Church of St-Robert, La Chaise-Dieu.

The off-the-wall premise of The New Girlfriend could have been one adapted by Pedro Almodóvar. After married woman Claire’s close childhood friend dies, she gives an undertaking to look after the widowed father David and the couple’s daughter, to whom she is godmother. While keeping her promise, she accidentally discovers he is a secret transvestite – David says his wife knew of this.

En Équilibre addresses the impact of disabling and irreparable injury, thwarted ambitions, the questionable practices of insurers, and the connection between two dissimilar, yet both frustrated, characters. Despite its different strands, the film adeptly draws them together into a coherent and unexpectedly enthralling whole.

Pop went the easel, and more, as we were offered a worldwide tour – New York, LA, London, Paris, Shanghai – of the art phenomenon of the past 50 years (still going strong worldwide). We were led by a wide-eyed interlocutor, the bright-eyed and bushy-tailed Alastair Sooke, to the throbbing beat of – what else? – pop music, Elvis and much else besides.

Yet another full Proms house sat down, and of course stood, for a rather strange six course meal which turned out not quite what the menu had led us to anticipate.