The title is so long that the Royal Court’s neon red lettering only renders the first three words, followed by a telling ellipsis. But lyrical new play For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy lives up to its weighty name.

The independent filmmaker Alexandre Rockwell has flown under the radar since he made his name with the Cassavetes-vibed 1992 New York comedy In the Soup. He recently explained that his career was sabotaged by Harvey Weinstein, who was jealous, Rockwell suspects, of his close friendship with Quentin Tarantino. The intervening years haven’t been fallow, but Rockwell’s 10th feature, the lyrical childhood mini-odyssey Sweet Thing (2020), represents a major comeback.

This show has been a long time coming. Neil Gaiman had the first inklings of The Ocean at the End of the Lane when he was seven years old and living near a farm recorded in the Domesday Book. Several decades later, he wrote a short story for his wife, Amanda Palmer, “to tell her where I lived and who I was as a boy”, as he puts it in his programme notes.

Ann Turner’s 1989 feature debut Celia is one of the great coming-of-age films, an enthralling tale of pre-pubescent angst set against a backdrop of post-war Australian social and political history.

There’s much to enjoy in Running Against the Wind: Jan Philipp Weyl’s contemporary Ethiopian epic is a visual treat, with excellent performances from its two young leads. And how often do we get to see a film in Amharic with English subtitles?

Mieko Kawakami sits firmly amongst the Japanese literati for her sharp and pensive depictions of life in contemporary Japan. Since the translation of Breasts and Eggs (2020), she has also become somewhat of an indie fiction icon in the UK, with her books receiving praise from Naoise Dolan, An Yu and Olivia Sudjic.

Introduced by Brighton Festival 2021 Guest Director, poet Lemn Sissay, Josie Long, clad in blue denim dungarees and a black tee-shirt, initially hits the stage for a celebratory introduction. She’s here to perform her Tender show about pregnancy and childbirth, but this is her first show in well over a year, due to COVID-19, and she’s keen to say hello first. She’s excited and it’s contagious.

Hot on the heels of her 2019 triumph Portrait of a Lady on Fire, Céline Sciamma’s fifth feature continues a perfect track record; this is yet another gorgeous and perceptive film, told from a determinedly female perspective but with a wisdom that is all-embracing. 

Sure, Roald Dahl wrote Charlie and the Chocolate Factory but is that any excuse for a film quite so saccharine? He of all challenging and complex men, with a temperament to match, seems an odd subject for the sort of weightless, paint-by-numbers biopic that would be hard-pressed to muster much attention even as TV filler on a particularly dead night.

They say "never meet your heroes". That may be true, but it forms the premise of a new TV drama concerning two of the world’s most famous children’s authors – Beatrix Potter and Roald Dahl – who encounter each other at opposite ends of their life.