It’s entirely appropriate that in 2021, when debates about racism fill our minds and music festivals are still curtailed that Summer of Soul, filmed in 1969 but forgotten for decades, should win Sundance and hit our screens. Its director Questlove (aka Ahmir Khalib Thompson) is a man of many talents, frontman with The Roots, a DJ with an extraordinary vinyl collection and a music journalist.

Even for this reviewer, who was brought up on Tove Jansson’s quirky children’s books (and is the owner of some 50 different Moomin coffee cups), it’s a stretch to recommend dropping everything to go and see Tove in the cinema. There’s nothing wrong with the film as far as it goes, but unfortunately it doesn’t go quite far enough.

Director and co-writer Michael Shevloff’s film about Max Mosley, who died in May this year, is a curious beast, perhaps reflecting the difficulties of pinning down such a complex character. In fact, each of the several phases of Mosley’s remarkable life could make a self-contained documentary of its own, so fitting them into a 90-minute film was a virtually insurmountable task.

Michelle Pfeiffer all but purrs her way through French Exit, as befits a splendid actress who cut a memorable Catwoman onscreen nearly thirty years ago. Playing a New York grande dame who deals with bankruptcy by decamping with her son Malcolm (Lucas Hedges) to Paris, Pfeiffer informs the character of the mortality-obsessed Frances Price with an implicit "meow", as if forever finding fault with a world in which, short of funds, she is now surplus to requirements.

Originally designed as a Yuletide widescreen blockbuster, The Tomorrow War belatedly emerges on Amazon’s streaming service, which at least means you can hit the pause button during its immense 140-minute running time whenever you need a leak or a refill.

A revival of a multi-award winning musical, with a big star or two, may look like a safe choice to re-open London’s largest theatre, the Coliseum, but there was a tingle of jeopardy in the air, exemplified when the show catches you by surprise, the curtain rising when (surely) people remain in the bar?

Rounding out a decade of personal success – beginning with his Cannes Jury Prize-winning The Puppetmaster (1993), followed by a best director award for Good Men, Good Women (1995) – the Taiwanese director Hou Hsiao-hsien travelled to the Japanese harbour city of Hirado as part of his research for Flowers of Shanghai (1998).

The general uptick of late in film versions of stage musical hits continues apace with In the Heights, which, to my mind anyway, is far more emotionally satisfying and visually robust onscreen than it was on Broadway, where it won the 2008 Tony for Best Musical.

Back in 2017, a non-speaking autistic teen, Naoki Higashida wrote and published The Reason I Jump. He hoped it would offer some insight into the minds of people with autism. The book was subsequently translated by Keiko Yoshida and her husband, Cloud Atlas author David Mitchell. 

Florian Zeller: the name might not be familiar in the world of cinema. But watch this space.