Film: Beautiful Kate

This Australian film is possibly the most disturbingly unusual love story of the year

Finding a cheerful Australian film these days is quite a challenge. Having discovered the particular affinity between Australia’s parched and expansive landscape and the genres of horror and misery memoir, the nation’s filmmakers have set about exploiting it with an enthusiasm that reliably finds a pile of corpses – physical or emotional – bloodily heaped by the time the closing credits roll. Beautiful Kate is no exception, but if you can brave its confronting gaze you’ll find one of this year’s most delicate and accomplished films staring back at you.

Nevermore, Barbican Theatre

The raven croaks in this imaginary life and death of Edgar Allan Poe

If there was an opposite to the limitless “ever after” of fairytales, the relentlessly nullifying "nevermore" of Edgar Allan Poe’s raven would come pretty close. A deformed, sickly smiling "musical fable for adults", the ominously named Nevermore is Canadian theatre company Catalyst’s grim(m) take on the life of that greatest of storytellers, Poe himself. Had Little Red Riding Hood decided to meet the Wolf at an S&M club for a spot of burlesque (and had Nick Cave been on hand to write some songs about the encounter), Nevermore would be the result.

LPO, David Murphy, Royal Festival Hall

Ravi Shankar's Symphony has been 90 years in the making but is well worth the wait

A packed Festival Hall and a cheering, stamping, standing ovation – hardly the usual welcome for an evening of contemporary music. Sitting, wizened and waistcoat-clad, at the centre of the front row was the reason: Ravi Shankar. Framed by the mathematical minimalism of John Adams’ Shaker Loops and Philip Glass’s Violin Concerto No. 1, Shankar’s first-ever symphony was last night given its world premiere by the London Philharmonic Orchestra.

OperaShots, Royal Opera

Three major composers lose their operatic virginity and score in football-themed event

Anyone hoping to take refuge from last night’s football fever in the solemn halls of the Royal Opera House would have scored something of an own goal. Heading the bill for OperaShots – a trio of new operas staged in the intimate Linbury Theatre – was Jocelyn Pook’s Ingerland, an operatic meditation on the beautiful game. Framed by shorter works from Orlando Gough and Nitin Sawhney, the evening was a chance for three established composers to have a “shot” at opera for the first time. With Gough promising not so much an attempt as a “shot across the bow of opera”, we prepared ourselves for something pretty provocative.

Brian Eno - Pure Scenius, The Dome, Brighton

Brian Eno delivers a five-and-a-half hour musical lecture in the year 2069

It's 4.00 in the afternoon and Brighton Festival curator Brian Eno is fast-forwarding us to the future. Perched onstage behind an array of consoles, he tells us we're in for "something special for the end of term". The conceit is that the audience are students in the year 2069, indeed the event programme takes the form of notes for a university course on "Cultural Reconstructions". Rather than a single "lecture", though, there are three, and they will take us through to 11.00 tonight.

Photographic Gallery: John Angerson's English Journey

Portraits taken in the footsteps of JB Priestley

“Being a rambling but truthful account of what one man saw and heard and felt and thought during a journey through England.” Upon its publication 75 years ago, J B Priestley’s English Journey became an important influence for writers, photographers and even, it has been suggested, the agenda of the post-war Labour administration. Cushioned by the success of The Good Companions (1929), Priestley embarked on his tour of the English regions at a time of economic Armageddon. In this new English journey, and in the teeth of a new recession, photographer John Angerson set out to follow in Priestley’s footsteps to document an England which exists now. He takes Priestley’s subtitle as his own.