I wonder if it’s possible for a film festival to kick off with a bigger bang. For your first three competition films to be directed by one of the world’s biggest movie stars, one of its most celebrated (and controversial) auteurs and arguably the world’s most famous woman, is no mean feat. And two of these films are pretty damn good. Italy’s economy might be down there with the dregs of Europe, but its premier film festival, now in its 68th year, shows no sign of being knocked off its perch.

Shen Wei is only 43, but he’s packed an epic amount into his career. A child sent from home aged nine to study opera; an emigrant to New York; a return to China to choreograph the Beijing Olympics. His urge to put this extraordinary tale into dance theatre is understandable. That Re-Triptych, a semi-biographical creation that’s one of the Edinburgh International Festival’s features in its Asian dance programme this year, is only intermittently intriguing to watch, and largely inchoate in choreography, seems also understandable. Some experiences are just too much to render in art.

Josie Long, Pleasance Dome **

Last year, Josie Long, famous for her whimsical comedy and fey delivery, decided to get serious. Disheartened by the election result, she started to do political comedy, but sadly her level of analysis was along the lines of: “Anyone who voted Tory in May's election is a fucking cunt.” One year on in The Future is Another Place, the level hasn't been raised.

A few days visiting the Edinburgh Art Festival and the city itself becomes the encircling gallery. Under great canvases of lowering grey cloud, plunging up and down the different levels of the Old Town and the New, things unfold against the intense hues of emerald-green spaces, the coppery contrast of the beeches, the cold hardness of the towering walls of stone and the eddying flow of the crowds. Within this frame is the opportunity to see a wide diversity of exhibitions and events in almost 50 museums, non-profit, commercial and artist-run spaces, plus specially commissioned site-specific works.

Chris Ramsey, Pleasance Courtyard ****

It's easy to see why the Edinburgh Comedy Awards panel shortlisted South Shields comic Chris Ramsey. He's personable, very funny, has a well-constructed show - and is destined for a big television career any day soon.

Luke Haines, Cabaret Voltaire ****

If the cards had fallen differently Luke Haines might have been as big as Blur. As frontman of The Auteurs he was briefly tipped for Britpop greatness, so it is no surprise that he likes the idea of alternative histories. This special show, The North Sea Scrolls, was all about them, as Haines, former Microdisney linchpin Cathal Coughlan, writer Andrew Mueller and cellist Audrey Riley mixed spoken word with punchy lo-fi melodies.

Kieran and the Joes, The Store ****

Kieran and the Joes are a three-man sketch group (Kieran Hodgson, Joe Markham and Joe Parham, working with co-writer Tom Meltzer) who are young, personable and very neatly dressed in shirts and ties - but while they may appear clean-cut their comedy veers nicely towards the dark.

The former Soviet head of state Mikhail Gorbachev was a ubiquitous presence in the British news last week, wheeled out for the 20th anniversary of the dismantling of the USSR. The anniversary, though, is not just about what went on within what is now Russia or at the Berlin Wall. Last night saw 70,000 gather in the Estonian capital Tallinn for the Song of Freedom event, to mark the country's split from the USSR.

Tiffany Stevenson ★★★★

The comic is currently appearing on Show Me the Funny on ITV, where her smily disposition is a welcome antidote to some of the sneery critics they have mustered. There’s boyfriend stuff in Cavewoman but Stevenson also delivers a few astute political observations, as well as the occasional unPC gag - such as suggesting Tina Turner's dance moves were inspired by her avoiding Ike’s punches.

Glenn Wool, Assembly *****

When you watch Glenn Wool, you realise the heights that a talented performer can reach simply by standing on stage and telling stories – not all of them necessarily true - when they are weaved with wonderfully crafted gags and slow-burn pay-offs, with some subtle political humour also in the mix.

When you watch Glenn Wool, you realise the heights that a talented performer can reach simply by standing on stage and telling stories – not all of them necessarily true - when they are weaved with wonderfully crafted gags and slow-burn pay-offs, with some subtle political humour also in the mix.