Many a redoubtable British theatre talent has stumbled at the altar of cinema before, which is another way of saying that Bel Ami is hardly the first film to suggest that not every heavyweight of the London and international stage - in this case two such titans in Cheek By Jowl supremos Declan Donnellan and Nick Ormerod  - is to the celluloid manner born. Leading man Robert Pattinson deserves credit for thinking outside the Twilight box while only confirming one's sense that he, too, looks sadly adrift beyond his established habitat.

What is it about the Sixties that keeps drawing us back? Surely, it can’t just be that anniversary thing – 50 years on? Perhaps, in these care-worn times, we just like to revisit our don’t-give-a-damn  anti-heroes, having their cake and eating it, pleasuring their mates’ marriage-weary wives, arranging abortions if things go wrong, downing pints in the pub. That was the life.

Twentysomething emotional confusion is fertile ground for drama. In this new play, Stefan Golaszewski - writer of the BBC Three sitcom Him & Her and star of BBC Four’s Cowards - explores the situation of a young man who doesn’t really know what he wants. Well, except for lots of sex of course. With lots of different women. Or so it might seem. But does he really?

As in sex, so it is in music: there’s a lot riding on the climax. The celebrated third act trio of Der Rosenkavalier is arguably the most famous orgasm in music – dear reader, can you name a better one? – but time it wrongly and you’ll regret it. There is, however, absolutely nothing regrettable about this A-list cast in the hands of director David McVicar and conductor Edward Gardner. Theirs is the most assured, most riveting Rosenkavalier in this country for years.

In his previous films, the French director Bernardo Bonello has demonstrated a non-judgemental affinity for pornographers, prostitutes, and other transgressors. In his latest, House of Tolerance (House of Pleasures in the US), his sympathy is with the languid courtesans of a doomed high-class fin-de-siècle Parisian brothel, who are united in their contempt for the wealthy, condescending men who subject them to fetishes, diseases, and violence.

Although the title of this new DVD box set was a given considering the nature of the films included, all six films collected are – whatever their reputation, levels of nudity and explicitness – sober-minded, hardly measuring up to any standard of what normally constitutes erotica. Three are dry sex education films, presented by real-life psychologists, while the other three are bizarre examinations of an alienated young women in relationships that involve power play, subjugation and abuse. Like nightmare, no-budget counterparts of Ingmar Bergman’s Scenes From a Marriage.

Alfie’s back. The eponymous scallywag from the late Bill Naughton’s picaresque yarn set in London’s so-called Swinging Sixties is at it again, canoodling the women and cuckolding their husbands. “Keep them all happy,” he says in cavalier style, “Happiness is transitory, of the moment.” He takes no responsibility other than helping to arrange the odd back-street abortion. Never get attached and never get dependent - these are his watchwords. Life’s a giggle. His attitude to women is expressed by his dated vocabulary – “bint”, “bird” or just “it”. And he’s always on the fiddle.

When it premiered at the Venice Film Festival in September, Steve McQueen’s second film, Shame, got rave reviews from male critics. Michael Fassbender (who played Bobby Sands in McQueen’s splendid debut feature, Hunger) is brilliant as Brandon, a successful thirtysomething New Yorker. His screen presence is so appealing that one could ogle him for hours and if, indeed, that is his body sauntering naked past the camera, he is well hung as well as handsome.

“Brandon is everyone.” Shame, Steve McQueen’s new film, opens later this week. It is a brutally frank portrait of a man’s struggle with addiction to sex. As McQueen explains here, it was shot in New York for the specific reason that no one in the UK would talk to him about sex addiction. No sex please.

Although 2010 was undeniably a bad year for Greece, the arrival of Attenberg was a timely reminder that despite the country’s financial bankruptcy, it wasn’t culturally bankrupt. Suffused in melancholy, Attenberg nonetheless recognises that courage and facing change head on are core to the human spirit.