For those who have not experienced it, watching the behaviour, the symptoms, a kind of physical jerkiness at times, some seeming lack of awareness of what is happening can be disturbing.

Audiences can identify with the women, although at many moments this is rather difficult, and can appreciate the continued hardships and challenges.

A word to describe the experience of this film is ‘harrowing’.

The staging is sparse but inventive.

How does it play? With the same verbal and musical fireworks as the stage version, and with the same emotional kick, which is rooted in the casting.

Such an editing decision not only gives the film a lopsided structure but also robs it of a more nuanced portrayal of the conservative team.

This is a glamorously-styled, sophisticated documentary about an ageing artist looking across his achievements to reveal the meaning of the name of Pierre Cardin.

Iannucci, with the help of an ethnically diverse cast, humorously translates Dickens in a modern way that amuses, rather than enthrals. The result is a gentler version than Dickens’ presumably intended.

The film indicts both repression and terrorism, and it showcases marital fidelity in the teeth of challenging circumstances. But the moviemaking is weak.

Those who know the films of writer-director, performer, Elia Suleiman, know that he is an expert at a particular kind of comedy, partly deadpan, partly satire and parody, partly gentle about human nature.

On the whole, this is a very cheerful film though most of the characters are not without their problems.

Howard doesn't like the stigma that dads cannot be caregivers, or that they are blundering caricatures or absent. This was not her experience. So, she decided to present "the media image of dads in a new light, inspired by hope."

Irresistible will change as few lives as opinions. But its warning about the grip the wealthy have on the process and its appeal for civility may prove timely as November looms.

Ingimundur has gone through grief, traumatic consequences, emotional collapse, but also steps towards apology, reconciliation, some possibility for peace in his soul and in his life.

There is the innate desire to be one with the land, to know one’s place, the pain of leaving it, contrasting with the majority of local neat comfortable homes, a life that is only temporary.

Bridget destroys her child, after which O'Sullivan's script insists that any remorse Bridget might feel is misplaced and represents a chink in the armor of her secular feminism.

The audience is plunged into an unfamiliar world, asked to think about contemporary uprisings and revolutions, especially in Latin America, to think about the exploitation of children in war.

It cuts through the complexity and highlights basic truths. It reminds parents and kids alike that the moments when we’re happiest and at our best are often the simplest ones. 

The playing is generally astounding, and that alone makes for an enriching hour of public television.

Racism, after all, comes about through personal ignorance and blindness, sometimes trickling into America’s most esteemed and storied institutions.