Colette Photo: Robert Viglasky
Keira Knightley embodies the French writer as she undergoes a transformation through the course of Wash Westmoreland's film, from a naive provincial who becomes increasingly liberated as her books about saucy schoolgirl Claudine - sold under the name of her husband Willy (Dominic West) - begin to sell like hot cakes. Westmoreland allows the complexity to shine in the relationship between Colette and Willy, as Colette blossoms and begins to take control of her own story, while Denise Gough puts in a scene-stealing supporting performance as Missy, with whom Colette engages in a same-sex relationship. Read what Westmoreland had to say about the influence of Max Ophüls, La Belle Époque and on the relationships in Colette, plus our full review.
The Third Man, BBC4, Thursday, April 1
Carol Reed's cast iron classic is worth catching no matter how many times you've seen it - and even if you are likely to have Anton Karas' zither-led Harry Lime Theme in your head for a week afterwards. It boasts a sharp script from Graham Greene (with notable additions from Orson Welles) and a plot that feels as off-kilter as Robert Krasker's camera angles, as Holly Martins (Joseph Cotton), an old friend of recently deceased Harry Lime (Welles), finds himself increasingly suspicious as to what has caused his pal's death. As the black market and grey morality begin to come to the fore, you're likely to find yourself gripped by this noir again and again. Read our full review.
Wild Bill, on Netflix
Before Dexter Fletcher cemented his name as a mainstream director with films including Sunshine On Leith, Rocketman and Bohemian Rhapsody, he made this indie gem - which picked up the audience award in San Sebastian that year with good reason. The story may be familiar - a fresh-from jail con (Charlie Creed-Miles) who finds himself looking after his kids - but the redemptive arc the father and his sons (played by Will Poulter and Sammy Williams) go on is effective and affecting. Change doesn't come at a rush in this film, which slowly builds its charm through character, with Fletcher, as always, showing a knack for getting the best from his cast. Creed-Mills told us the role was "massive for me", while Fletcher says he had the actor in mind "from the outset". Read our full review.
Collective, BBC4, Saturday, 11.50pm
This film cropped up in our Streaming Spotlight on Romanian filmmakers a couple of weeks ago but it's worth mentioning again as you can now catch this gripping documentary on TV. Alexander Nanau had previously made waves on the international festival circuit with Toto And His Sisters, and this damning documentary about the aftermath of nightclub fire that left 37 dead, became the first documentary to be nominated from the country for the Oscars. The confidence in it is not unfounded as it became the first Romanian film to ever make the Oscars Best International Feature shortlist as well as snagging a nomination in the Documentary category. Beginning with harrowing scenes from the fire itself - which though tough to watch, are justifiable - Nanau's film goes on to take a deep dive into what happened next, as medics and bureaucrats, incompetence and corruption lead to the death of many with what should have been survivable injuries. Nanau takes his lead and his speed from investigative journalist Catalin Tolontan and his team, as they begin to dig into the case and uncover a disinfectant scandal. Fast-paced and urgent, this is not just a documentary about the specific case in Romania but also shines a light on the way cover-ups and rule flouting can breed anywhere, particularly when they have the backing of "populist" media. Read our full review.
Blinded By The Light, Netflix
This could easily have been included in our Spotlight on British women filmmakers a couple of weeks ago as Gurinder Jadhar continues to make warm-hearted movies with underlying messages about equality and prejudice. As a fan of Bruce Springstein - something she shares in common with writer Sarfraz Manzoor, on whose memoir this is based - she was the perfect choice for this coming-of-age tale about a teenager from a Pakistani family learning to find his feet in Eighties Luton. Viveik Kalra is also perfectly cast as the aspiring teenage writer at the story's heart, who finds comfort and inspiration in the music of The Boss as he negotiates the trials that come with teenagedom. Springstein's music provides a singalong soundtrack in a film that comes from the heart. Read our full review.
Four Lions, 11.15pm, Thursday April 1
Taking the idea of suicide bombing into the arena of comedy is not for the fainthearted but then Brass Eye satirist Chris Morris had never been one to shy away controversy when he made his first foray into film with this surprisingly hilarious debut that would go on to win him a Best Debut BAFTA. Despite the subject matter, there's an old school Ealing feel to a lot of the action as the bungling wannabe terrorists (Riz Ahmed, Nigel Lindsay, Kayvan Novac, Asher Ali and Adeel Akhtar) plot a mass murder. Exploring the way that the completely ordinary and extremism can often be found walking hand in hand, this is both laugh out loud funny and as serious as a bullet through your artery. Read our full review.
Guy meets girl stories don't come too much better than this gentle, absorbing tale from John Carney (although I'd argue that his later Sing Street just has the edge). The Frames star Glen Hansard steps into the shoes of a Dublin busker who strikes up an unexpected relationship with a Czech immigrant (Markéta Irglová). Avoiding the usual cliches around romance, this is memorably wistful in its consideration of life and love and features music that's as complex and affecting as the relationship at its heart. Read our full review.
My5.tv has, amid all its regular film fare a strong handful of shorts, including Oscar Sharp's The Karman Line - with the attraction of Olivia Colman to the central role a mark of its quality. She plays Sarah, a woman who begins to drift of the ground - and away from her family. A fable about loss among other things, it's beautifully shot by British A-list cinematographer Robbie Ryan. Watch it here