New films by Mike Leigh, Stephen Frears and Sophie Fiennes figure in the line-up of the 63rd Cannes Film Festival, which was announced at a press conference in Paris this morning. As expected, Leigh's Another Year will vie for the Palme d'Or, the only British film to be selected. Frears's Tamara Drewe, based on the Guardian comic strip, plays out of competition, as does Oliver Stone's Wall Street - Money Never Sleeps and Woody Allen's London-set You Will Meet a Tall Dark Stranger. Also out of competition, Fiennes's Over Your Cities Grass Will Grow, a film about the artist Anselm Kiefer, gets a special screening.

Business is booming for Australia's cinemas. 2008 was a record-breaking year at the box office, and international festivals run annually in the major cities. Yet, despite successes as diverse as Lantana, Wolf Creek, Muriel's Wedding and Priscilla Queen of the Desert, just 33 home-grown films were released last year – fewer even than in 1911. Three decades ago, the New Australian Cinema was one of the most exciting national movements in the world, thanks to work like Picnic at Hanging Rock, Mad Max and My Brilliant Career.

Soviet-era film director Sergei Paradjanov is a figure whose complicated biography has often overshadowed his innovative and distinctive cinematic style. The first full UK retrospective of his work at the British Film Institute on London's South Bank, marking the 20th anniversary of the director’s death, gives a chance to reassess the paradoxes of his heritage, and delight in a character whose rebellious passion for life and for artistic beauty brought him through some of the worst trials that the Soviet system could impose on an artist. Meanwhile, an exhibition of photographs by his long-term collaborator Yury Mechitov catches the last decade or so of Paradjanov’s life in his native city of Tbilisi, and shows the richly human face of so complex a personality.

If Michael Moore's new film were a person, it would be diagnosed with a severe case of Attention Deficit Disorder. His Cook's Tour through the ills of capitalism spans, inter alia: forced repossessions; worker lock-ins; the breadline salaries of airline pilots, some of whom sell blood or use food stamps to pay the bills; a scam, perpetrated by a judge in collusion with a private company, to make money by sending harmless youngsters to a correctional facility; Hurricane Katrina; the election of President Obama; cats flushing toilets - in short, everything but the kitchen sink.

There are gunshots outside in the street, a boy sits behind his front door desperate to get to ballet class, the two sides of his life colliding in front of his eyes - reality and dream. It’s a favela in Rio, one of the most dangerous cities in the world, a vast estate of poverty riddled with drug crime and addicted young lads with no future other than dealing, until they get shot or jailed. Ballet... well, what an irrelevance.

It would be an understatement to say that the auguries weren't good for Wes Anderson's first animated movie, the world premiere of which opened the London Film Festival last night. The distributor - Twentieth Century Fox, by a neat coincidence - was coy about screening it to critics, the trailer (below) was teeth-grindingly unfunny and an uncommonly candid feature in the Los Angeles Times earlier this week reported deep tensions on the film's London set.