At the end of this absorbing documentary about the art – and life – of Paul Nash we visited his tombstone in a Buckinghamshire churchyard, accompanying writer and presenter Andrew Graham-Dixon as he laid sunflowers on the grave. He reminded us that Nash saw the sunflower as a symbol for the soul, turning to the sun; indeed one of his last paintings was “Solstice of the Sunflower”.

“Changing perceptions” is the byline that Mitsubishi gives to its sponsorship of Channel 4’s documentary slot. Animal-lovers, a constituency that surely makes up a sizable part of evening viewers, will certainly have come away from Matt Rudge’s bizarrely entertaining film All Creatures Great and Stuffed with their perceptions changed.

Ever since his 1967 breakthrough film Titticut Follies, an unsparing look at a Massachusetts prison for the criminally insane, Frederick Wiseman has been turning his dispassionate observational camera on the workings of institutions ranging from the US Marines to high school, juvenile court, and the American Ballet Theater. His latest, At Berkeley, is an in-depth exploration of the University of California’s San Francisco Bay Area outpost (UC is made up of several self-contained component universities distributed across the state, with Berkeley the jewel in the crown).

The Bennet family had an issue. Time to get the Austenesque quips out of the way.

Britain, as Tamsin Greig’s soothing voiceover told us at the top of this hour, is a nation in love with its animals. Still, it’s unlikely that BBC Two is betting the house on this docu-soap, which will follow the lives of 10 students through their final year at the Royal Veterinary College and which is screening every night for the rest of this week.

The role of women during the First World War has been heavily mythologised in a way that has cast them as both the angels of the home front and a force for positive political change. What made this documentary, written and presented by revered war correspondent Kate Adie, so fascinating was that as well as providing a comprehensive guide to the many roles played by women during the conflict, it blew some of those myths wide open.

As we approach the anniversary of the beginning of World War I, the television schedules devoted to it are becoming denser and denser. In volume, at least, rather more than insight. We wonder just what more can be broadcast, after all, about the history concerned that has not already been said at some point in the century that has followed the conflict's tragic onset?

The RAF's renowned aerobatics team found itself at the centre of a political mini-storm last week when it was asked to use only blue and white smoke trails (but not red) at the Commonwealth Games opening ceremony in Glasgow. The MoD briskly quashed the request, prompting dark rumours about an anti-separationist conspiracy in Whitehall. However, I can't imagine the pilots themselves even noticed, so ferociously do they have to concentrate on their day jobs.

The struggle of the migrant journey from Mexico and Central America to el Norte has been much in the news recently, and, coincidentally, it’s a theme that cinema has been following too. After Diego Quemada-Diez's recent The Golden Dream, about teenagers who set out on that difficult route, Marc Silver’s drama-documentary Who Is Dayani Cristal? shows us a similar experience, though through a somewhat different lens.

What makes an exciting “genuine” photographer is fairly simple: what do you see in the photographs? Do they compel you to look at them? How evocative are the images? How interesting are the compositions? These are among the criteria which separate the merely good from the truly great – and who would have expected that there are truly great photographers yet undiscovered, or even some that didn’t want to be discovered? This is the backstory of Finding Vivian Maier, an exceptional and exceptionally compelling documentary co-directed by John Maloof and Charlie Siskel.