Baudelaire called him a “pictorial Balzac” and said he was the most important man “in the whole of modern art”, while Degas was only a little less effusive, claiming him as one of the three greatest draughtsman of the 19^th century, alongside Ingres and Delacroix.

We seem to have spent most of 2014 examining the social, political, historical, geographical and military ramifications of the First World War. You would have thought, therefore, that the upcoming Remembrance Sunday commemorations could have been allowed to stand alone, uncluttered by further efforts to explain or dramatise the events of 1914.

At least three composers have set about turning The Fall of the House of Usher into operas, including most famously Debussy, whose abortive attempt, completed by Robert Orledge, was brilliantly staged by Welsh National Opera in June. But there is a good argument that Poe’s story – short on incident and character, long on visual image and atmosphere – lends itself better to film than to the stage.

Alan Rickman returns to film directing 17 years after he first stepped behind the camera with a film as pulpy and bodice-ripping as his debut feature, The Winter Guest, was chilly and austere. Visually enticing and packed with a blue-chip international array of actors, several of whom have precious little to do, A Little Chaos addresses a preferred English topic (gardens and gardening) displaced to some mighty elegant French environs.

There is no other actress on the planet like Juliette Binoche. For the latest proof watch Camille Claudel 1915. Most screen actors, even the very best ones, can never quite obliterate themselves from a performance. You know it’s Chiwetel Ejiofor or Cate Blanchett or Ralph Fiennes embodying the experiences of a character. It's somehow different with Binoche. Be they big or small, she lets feelings wash through her that seem to have nothing to do with the construct of performance.

At the risk of endorsing national stereotypes, I’ll still describe Yann Gonzalez’ feature debut You and the Night as a very French film. Its appearance in Critics’ Week at Cannes last year brought comparisons with Francois Ozon and Pedro Almodovar for a combination of style and sex, arguably at the expense of substance. And you can’t help feeling that the ghosts – it’s a work very much concerned with ghosts and fantasies – of Cocteau and Genet are lurking somewhere too.

Imagine The Best Exotic Marigold Hotel crossed with Chocolat. That’s The Hundred-Foot Journey in one, meshing a previous success of director Lasse Hallström with the previously neglected but growing genre of 'the mature person's movie'. After all, old folks like food, don’t they? Well, so do young people. Who doesn’t?

The sheer joy of making theatre provides the central attraction of Cycling with Moliere (Alceste à bicyclette), but Philippe Le Guay’s film is also rich in the comedy of fractious interaction between old friends whose worlds have moved apart.

We call it the First World War, but in Western Europe at least, most of the scrutiny is confined to what happened to Britain, France and Germany (with a side order of Russia) from 1914-18. The writer and presenter of this two-part series, David Olusoga, seized the opportunity to emphasise the full global scope of the conflict by throwing fascinating light on the contributions made by troops from the French and British colonies, uncomprehendingly transported from India and Africa to the mud, blood and horror of the Western Front.

The sprightly tread of Handel’s Queen of Sheba, attended by two wonderful Turkish oboists, wove the most fragile of gold threads between full orchestral exotica and Rameau motets of infinite variety last night. Not that any more links need be found: it’s the addition of the late night events which turns the Proms into a real festival, not the mere concatenation of concerts you might find in the main orchestral season.