In a purgatorial summer, this boisterous, camp and chaotically charming musical is a tonic. It’s a winning combination of slick and slapdash, performed before a masked, socially distanced audience in a hastily repurposed beer garden behind the Eagle pub in Vauxhall.

“I’m for sure getting rid of it,” 34-year-old Bridget (cool, understated Kelly O’Sullivan, who also wrote the script; she was creatively inspired by Greta Gerwig's Lady Bird) tells her younger, casual boyfriend Jace (an endearing Max Lipchitz) when she finds out she’s pregnant.

Characterised by jarring juxtapositions of intense, appalling violence and the serene beauty of South Africa, Oliver Hermanus’ fourth feature is the story of a young man coming to terms with his sexuality against the background of apartheid and prejudice.

David France’s revelatory film may have been subtitled “The Gay Purge”, but from the start it was clear this wasn’t just another documentary from Russia charting the increasing pressure faced by that country’s queer community.

Nicholas Hytner’s A Midsummer Night’s Dream, filmed for NT Live at the Bridge Theatre last summer, is – as it gleefully acknowledges – completely bonkers. But it doesn’t start out that way. A troop of actors trudge through the audience, singing dirge-like psalms in dark suits and The Handmaid’s Tale-esque headwraps.

Portrait of a Lady on Fire, a story of impossible love between two young women, takes place in the 18^th century, on a wind-swept, wave-battered island off the coast of Brittany.

Larry Kramer, who has died at the age of 84, was the Solzhenitsyn of AIDS who indomitably reported from the gay gulags of Manhattan’s quarantined wards and revolving-door hospices. “I felt very much like a journalist who realises that he has been given the story of his life,” he told me when I met him. “I don’t consider myself a writer. I don’t bring the question of art into it at all like most writers do. I’m a messenger.

Oliver Hermanus’ potent fourth feature Moffie certainly has a controversial film title. A homophobic slur, it can be translated from Afrikaans as "faggot". If you were to see buses with film posters emblazoned with the title in translation, there might rightly be cries of outrage.

Both Cleanness and Garth Greenwell’s award-winning first novel, What Belongs to You, are set in Bulgaria, with a gay American teacher as the anonymous first-person narrator (Greenwell taught at the American College in Sofia from 2009 to 2015). In many respects, Cleanness is less clearly structured; it’s more like a collection of partly non-chronological short stories with recurring motifs.

“I am not intense.” That declaration arrives early in Feel Good, the new Channel 4 and Netflix romantic comedy fronted by comedian Mae Martin, who plays a fictionalised version of herself. Over Mae’s shoulder, we see a literal trash fire. She’s lit up the evidence of a past drug addiction. It smoulders in the background while she smoulders in the front.