A play about an international climate conference in 1997, I hear you say. Sounds boring, you add.

But you are so, so wrong.

Kyoto is a rip-roaring, piledriver of a play. 

Khawla Ibraheem got the idea for her monologue, A Knock On The Roof, about four years ago. Conflict in Gaza has made it even more topical. That’s hardly surprising, as the latest war is not the first even for her sole character’s six-year-old son.

For a play about India, Prime Minister Jawaharlal Nehru’s 1947 “Tryst with Destiny” speech is the equivalent of  Russian playwright Anton Chekhov’s dictum that "a gun shown in the first act will inevitably be fired later in the play".

The three couples in A Good House are unsettled by a seventh character: a shack with no known owner and no known occupants.  

What Have We Here? does what museums all over the country should be doing: taking a fresh look at their exhibits and captions and suggesting new ways of showing and explaining them.

Remember the shocking scandal of the gangs of predatory men, mostly British Pakistanis, who sexually exploited girls in Rochdale and Rotherham at the turn of the century?

See Frankie Lucas winning a national boxing title twice and follow his dreams of sporting glory. But his rise is far from straightforward. So is his downwfall.

The first sniff suggests an earnest, jerky, home movie. Stay with it, and watch this introspective documentary infiltrate your brain.

China meets Ethiopia, modernity meets tradition, capitalism meets community in Made In Ethiopia. And “meets” is a euphemism for clash.

Women Who Blow On Knots is an adaptation of journalist Ece Temelkuran’s novel (120,000 copies sold in her homeland, Turkey) about a road trip by four women amidst the turmoil of the Arab Spring.

The genocide of the Yazidis? Who remembers it now, a decade after the shocking reports of Islamic State (IS) atrocities?

Thirteen years in Iran - a fascinating journey through lives and years of which we rarely get a glimpse.

Dahomey - "an otherworldly account of the return of looted treasures to Africa, where their homecoming is hotly debated."

Milisuthando paints a picture of apartheid South Africa that’s rarely seen on screen: there’s criticism of Nelson Mandela and nostalgia for Transkei, one of the “Bantustans” or “Homelands” created so White South Africa could pretend to the world that its racist policy was “separate but equal” rather than repressive.

Islamophobia, British Pakistanis, Prevent, migrant father-son relationships, racism, code switching, stereotypes: Statues has something to say about all these issues.

How to make an entertaining film documentary on a complex subject? Jazz it up. Directors tend to add humour, rapid cuts, weird images, witty captions, and animation - any device to keep audiences interested.

Sugar Island is a barnstorming attempt to entertain and inform at the same time.

‘Resilience’ has become a fashionable word: politicians and NGOs use it a lot these days, If you really want to know what it means, watch Rising Up At Night.

Cinema provides a platform to talk about Somalia, its unknown problems, and its universal realities, says Mogadishu-born director  Mo Harawe.

Director Mehdi Barsaoui asked a couple of provocative questions when discussing his film Aicha: Does one have to die to be free in Tunisia? Has death become the only resort to reach true emancipation?