A film about an Aboriginal soul quartet in the Vietnam War should at least have originality covered. This adaptation of the hit Australian musical by Tony Briggs based on his mum and aunt's Saigon adventures rings most changes, though, in being a resolutely uplifting Aboriginal story. Australia’s deep racism in 1968 is well-caught when sisters Gail (Deborah Mailman), Cynthia (Miranda Tapsell) and Julie (Jessica Mauboy) powerfully harmonise at a spitefully rigged small-town talent contest.

A story of six years of conflict in the West Bank set against more timeless details of life in the Palestinian town of Bil’in, 5 Broken Cameras brings the reality of resistance to the expansion of Israeli settlements – a conflict between unarmed locals and the Israeli army with its modern armaments - to the viewer in a far fuller way than we see in news reports.

In case you doubted the title, the great Cream drummer Ginger Baker breaks director Jay Bulger’s nose with a crack of his walking stick, after Bulger’s lived at his subject’s South African ranch for four months. Like a zoo-keeper thinking for a fatal second the tiger was his friend, Bulger found that Baker still bites.

Balancing cool calculation with a touch of Potiche’s farce, In the House (Dans la Maison) sees French director François Ozon return to the story-within-a-story structure and enigmatic imposter subject matter of Swimming Pool.

This could be the best Bond yet: light on sex, heavy on storytelling, hard on action. This is 100 percent pure Bond - a distillation of beauty, action, surprises and locations. Let's start with the latter: perhaps it’s best to stay away from Istanbul, given Taken 2 and now the exciting chase scene in the opening of Skyfall. It's a chase scene, sure, but with stunts and camera angles that make you sit up and take just enough notice. Same goes for MI6 and Macau: terrible things happen there.

At the end of 2007 Led Zep’s reunion concert took “hottest ticket in town” to melting point. Everyone now knows 20 million fans chased 18,000 seats at the O2. What we hear less about is, given previous disastrous reunion efforts, how hard the pressure was on. And yet they pulled it off.  Five years later people have still been asking for a tour. Earlier this week, however, the band categorically stated they’ve called it a day. Instead they’re releasing a film of their last concert. Last night, at Hammersmith Apollo, Celebration Day got its British premiere.

Australian Cate Shortland’s second film is a raw fairy tale about Nazi Germany, where indoctrinated, newly teenage Lore (Saskia Rosendahl) has always loved her war hero daddy. But when he returns from his SS unit’s long Belarus rampage in 1945, both parents are seized by the Allies, and she has to lead her abandoned siblings into the forest, to find their grandmother’s house.

Twelve-year-old Simon (Kacey Mottet Klein) likes to get the most out of the holiday season, in the Alps that loom above his nondescript town. The little tyke is a very adept thief, stealing skis and ski gear on the slopes, then selling them to his neighbours. Simon’s entrepreneurial cut and thrust is at odds with his purpose, which is merely to provide for himself and his 20-something sister Louise (Léa Seydoux), who despite her age is the childlike dependent of this unusual family unit, unable to hold down a job, wasting her time – and their money – with the local boys.

Set in the near future on the outskirts of New York, Robot & Frank sees a grizzled ex-con warm to his mechanical helper, eventually enlisting him as a criminal accomplice. It might sound like the plot of a genre flick (Short Circuit springs to mind) but, like the robot in question, this little movie will knock you sideways with its soul. Boasting beautiful performances and ample humour, director Jake Schreier’s accomplished feature debut considers the preciousness and precariousness of memories – how they make us who we are, and indeed what it means to be alive.

Twelve-year-old Simon (Kacey Mottet Klein) likes to get the most out of the holiday season, in the Alps that loom above his nondescript town. The little tyke is a very adept thief, stealing skis and ski gear on the slopes, then selling them to his neighbours. Simon’s entrepreneurial cut and thrust is at odds with his purpose, which is merely to provide for himself and his twenty-something sister Louise (Léa Seydoux), who despite her age is the childlike dependent of this unusual family unit, unable to hold down a job, wasting her time – and their money – with the local boys.