This patchwork of interviews and comments from male journalists and politicians interspersed with clips from television news and films, from The Godfather to The Avengers, was a zig-zag narrative of Dominic Cummings’s unique career as a political strategist.

Normally we'd put a descriptor - "cellist", "film maker", "techno producer" for example - in the title of this interview, but for Irina Nalis there isn't space. Like, "10 Questions for psychologist, ministerial adviser, festival founder, architectural consultant, digital humanism activist and techno veteran Irina Nalis" wouldn't fit across the page. But that's the multidisciplinary world for you.

Londoner Shabaka Hutchings's other main groups, The Comet Is Coming and Sons Of Kemet, are pretty modernist. They incorporate dub, post-rock, post punk and rhythm patterns that recall London pirate radio sounds into the playing of his ensembles, with thrillingly adrenalised and / or cosmic results.

Based on the book by former political prisoner Tim Jenkin, Escape from Pretoria is an intermittently engaging jailbreak tale set in South Africa’s apartheid regime in the 1970s, as well as further evidence of Daniel Radcliffe’s determination to run as far as possible in the opposite direction from his past life as Harry Potter. Its only problem is a troubling case of schizophrenia, since it’s not sure whether to be a pared-down thriller or a political statement.

Ahir Shah has delivered some very good comedy by performing as a man who knows he is right about everything – that's what a political degree from Cambridge can do for you. But now the comic, rightly lauded for his previous polemicist shows with two Edinburgh Comedy Awards nominations, is casting around for something other than old ideological certainties to believe in.

Burhan Qurbani isn’t the first director to bring Alfred Döblin’s seminal 1929 novel, Berlin Alexanderplatz, to the screen. First, there was the Weimar Republic era adaptation that Döblin himself worked on. Fifty years later, Rainer Werner Fassbinder brought us his 15-hour television opus.

It’s not hard to see why The Sicilian Vespers has struggled since its surprisingly successful opening run at the Paris Opéra in 1855. Verdi had composed it reluctantly, despised the librettist, Eugène Scribe, who he regarded as a well-named cynical scribbler, and tried unsuccessfully to get a release from his contract. The result is undeniably patchy, narratively implausible to the point of silliness, and though tight by the standards of French grand opera, nevertheless at least one scene too long.

With counter-terrorism an urgent concern – and specifically how best to find, track and use the data of suspected threats, without sacrificing our privacy and civil liberties – it’s excellent timing for a meaty drama about the surveillance state.

Since Play Misty For Me in 1971, Clint Eastwood has been tearing up the American myth with a body of muscular, often melancholic work. He continues this theme with Richard Jewell, the story of a security guard falsely accused of the 1996 Atalanta Olympic Park bombing.

Matt Forde sets out his stall in Brexit: Pursued by a Bear from the first line: “We meet in diabolical circumstances.” These aren't good times, he says, with two major leaders in the Western world whose relationship with the truth is merely that of passing acquaintance. Add in the UK's continuing divisions over Brexit, and diabolical seems apt.