Having carved a swathe of terror and destruction through the Axis forces in North Africa, the SAS return for a second series (again written by Steven Knight, and with another rockin’ soundtrack featuring the likes of The Cult’s “She Sells Sanctuary”, Deep Purple’s “Highway Star” and Magazine’s very apt “Shot by Both Sides”).

Patriotic Italian films set during the Fascist war effort are understandably rare UK releases. Submarine commander Salvatore Todaro (Pierfrancesco Favino) was, though, an honourable warrior-poet who director Edoardo De Angelis seeks to separate from wider currents.

The 21st century learnt afresh about the reality of carpet-bombed cities thanks to the Syrian civil war, which began in 2011. And the Syrian war-set movie Nezouh begins with a teenage girl huddled in a tight, enclosed space – perhaps the bunk bed of an underground shelter – fervently scratching some message of distress or emblem of yearning on a piece of board.

Alex Garland’s fourth movie as writer/director is a chilling glimpse of an American dystopia, fortuitously timed for the run-up to the forthcoming US elections. However, it steers fastidiously clear of drawing any obvious Trump vs Biden parallels, though it’s difficult to imagine that it hasn’t imbibed any inspiration from the Maga mob’s insurrection at the US Capitol in 2021.

“Are they all like that?” asks a shaken Major Bucky Egan (Callum Turner), after he’s completed his first bombing mission over Germany as a guest of the US Eighth Air Force’s 389th Bomb Group. They’ve been battered by flak and lacerated by German fighters, and the front half of their B-17 bomber looks like an abattoir. His pilot looks ahead with a thousand-yard stare, and says “don’t tell your guys anything, they’ll figure it out.”

British anti-war films inspired by “the war that” failed “to end all wars” include Oh! What a Lovely War, The Return of the Soldier, A Month in the Country, Regeneration, Mrs Dalloway, The Trench, Testament of Youth, the different versions of Journey’s End, and Terence Davies’s haunting swansong Benediction. For simplicity of form and style in rendering the pity of war – and the war waged by officers on their men – none improves on King and Country (1964).

Mstyslav Chernov’s 20 Days in Mariupol, which won the World Cinema Documentary Competition at Sundance this year, is an emotionally devastating account of the inhumanity of war.

François Truffaut said that there is no such thing as an anti-war film because cinema inevitably glorifies the horror of conflict. The premise was robustly challenged over the weekend at the Ukrainian Institute London’s fourth annual film festival, Side By Side, which screened a handful of films, documentary and narrative, feature-length and short, that compelled the audience to reflect deeply on war’s horrific nature.

A sprawling French-made drama set in the early days of the First World War in 1914, Women at War tells the stories of a quartet of female protagonists as they struggle to make sense of the mayhem which suddenly engulfs them.

Irregular warfare has proved to be a speciality with the British armed forces. This new six-part series, based on Ben Macintyre’s 2016 book, tells the story of the chaotic birth of the Special Air Service during the war in North Africa in 1941, and it's a rollicking ride.