It’s truly thrilling to see the Barbican embracing big concept long-form theatre again, seeking out productions that are as conceptually challenging as they are visually exhilarating. Last week, audiences were asked to understand the forces of globalisation that shaped a royal wedding dress in the Théâtre National de Strasbourg’s multimedia tour de force, Lacrima.

Lorde’s trajectory is continually fascinating. From the minimalist, sparse electropop of Pure Heroine to the similar but more grandiose production of Melodrama was a linear progression, but then came the acoustic guitars and organic percussion of Solar Power.

“It is so disgraceful, what happened there,” says Anita Lasker-Wallfisch, in a comment that is the understatement of the century. She is referring to the genocide perpetrated by the Nazis in concentration camps like Auschwitz-Birkenau, where she was held prisoner.

In Jewish folklore, a golem is an inanimate clay figure, brought to life when a magic word is placed inside its mouth. Piotr Szulkin’s dark 1979 film debut makes reference both to this legend and to Gustav Meyrink’s unsettling 1914 novel, moving the action forward from the latter’s fin-de-siècle Prague to a geographically non-specific dystopian future.

Jesse Eisenberg's first film as writer/director was 2022’s When You Finish Saving the World, which met with modest acclaim. But he’s taken a giant leap forward with the follow-up, A Real Pain, which has been hoovering up critical plaudits from festival showings and its American release.

Jerzy Kawalerowicz’s Pharaoh (Faraon) is a state-funded superprodukcja, a 152-minute Polish epic, set, incongruously, in Ancient Egypt. First released in 1966, it wasn’t intended to be an Eastern Bloc copy of Mankiewicz’s Cleopatra; Pharaoh is an altogether darker, more sober work.

In his first of a series of meditations on the sickness that was consuming him, John Donne reflected upon the special kind of paranoia that attends the ill individual. Each person is, by virtue of "being a little world", supremely conscious of a change in the atmosphere.

Conclave

Director Edward Berger won an Oscar for his last feature, All Quiet on the Western Front (2022), but here he concerns himself with the more intimate and claustrophobic battlefield of the Vatican. The Pope (Bruno Novelli) has died, and under the watchful eye of the Dean, Cardinal Lawrence (Ralph Fiennes), the cardinals gather to appoint his successor. No-one said it would be easy.

We’re used to dabs of colour splashing briefly across black-and-white movies – Spielberg’s Schindler’s List or Coppola’s Rumble Fish spring to mind – but director Agnieszka Holland has a new and uncompromising variant on the ruse.