A heartbreaking, inexorable tragedy served by one stupendous visual composition after another, Abderrahmane Sissako’s Timbuktu is a masterpiece. The Mauritanian locations are a plausible stand-in for Malian Timbuktu and the desert around it – yes, I went there before it became a no-go zone -  with luminous cinematography by Sofian El Fani, but the human interest is never secondary.

When least expected, comedy has come stumbling into the work of French auteur Bruno Dumont. In his seven films to date, from the Cannes-winning Humanité of 1999 through to the stark Camille Claudel 1915 from two years ago, the director, frequently working with non-professional actors, has marked out a distinctive territory defined by its bleakness and emotional intensity.

This was one of the most disturbing, terrifying and informative programmes imaginable, made more so by Dan Cruickshank’s calm demeanour as he interrogated everyone from scholars to fanatics about the actions and rationale of the Islamic State (IS) during the past two years in Iraq and Syria. These conversations were set against his own visits to the Middle East and terrifying videos of IS hammering to smithereens the contents of museums and bulldozing world-famous archaeological sites.

What a difference seven years can make to a budding genius. Mozart’s La finta giardiniera (1775) has only patches of brilliance, and last year’s Glyndebourne production, despite musical excellence, failed them all.

The imposition of a brutal jihadist regime is relayed with formidable articulacy and a surprising lightness of touch in this gut-wrenching drama from Mauritanian director Abderrahmane Sissako. Although its narrative events are as horrifying as those of any thriller Timbuktu avoids the manipulative tricks of genre cinema.

Plays about Muslims in British theatre tend to open a door on a segregated community, a place cut off from the mainstream. But stories that show cultural conflict – between whites, Asians, Muslims, Hindus, Poles and Sikhs – are much rarer. So it’s good that actor-turned-playwright John Hollingworth’s debut play, with a title which alludes to Walt Whitman’s “I am large. I contain multitudes” from Song of Myself, dares to explore conflict between social groups.

The history play has roots that go deep into our culture. We love to see stories that are kitted out in fancy dress, and long to savour a past that resonates with our present. In the case of Dara, which is adapted by Tanya Ronder from an original by Shahid Nadeem first performed five years ago by Ajoka Theatre in Pakistan, we time-travel back to Mughal India in the mid-17th century to confront once again the problem of militant Islam. But is there more here than contemporary issues clothed in colourful garb?

Created by Gideon Raff, mastermind of Homeland and its Israeli forerunner Prisoners of War, and produced by Howard Gordon (who worked on Homeland and 24), Tyrant parades its roots on its sleeve. Its mix of action thriller and family drama, all souped up by a stiff dose of combustibly unstable Middle East politics, adds up to a slick entertainment formula, but do such deadly and complex issues deserve to be handled quite so glibly?

Janet McTeer has admitted that she had to read Hugo Blick's screenplay for The Honourable Woman three times before she could understand what was going on. Therefore anybody hoping to drop into this as a casual viewer can expect to find the learning curve slippery and featuring a pronounced adverse camber.

The Royal Court is justly proud of being the home of British new writing, but it is also a venue which has a great tradition of staging work from abroad. From bringing Brecht and Beckett here in the 1950s to its more recent international summer schools, this is a place where you might make the acquaintance of Eastern European, Latin American or Russian playwrights. Now, following in the footsteps of Chennai-based Anupama Chandrasekhar, whose play Disconnect was here in 2010, comes another Indian talent.