Shai Kremer is a photographer to watch. His stunning Israeli landscapes were immediately snapped up by the New York gallerist, Julie Saul, at his Masters graduate show in 2005. Since then his work has won international acclaim with shows in some of the world's leading galleries including Tate Modern and The Metropolitan Museum of Art in New York.
If ever there was a convincing argument for the licence fee, it is programmes like this. Very few commercial broadcasters use their resources to make documentaries about industrial chemists who died nearly 80 years ago.
Even before I watched this comedy, I knew I was going to hate it. Comments from friends ran the gamut from: "I would rather have my teeth pulled than watch this again" to "I would rather have my eyes gouged out with a fork than watch this again."
In vibrant oil paintings of lovers embracing, mothers shopping for the Sabbath and families picnicking, in dark gouaches of meditative rabbis, and in luminous watercolours, Dora Holzhandler imbues her subjects with a spirit of mystical intimacy.
Michael Grade is not the man he was. When we last met, a long time ago now, he was everything that the caricatures made of him. He sat in a plush office, red braces and red socks, smoking a giant cigar. As boss of Channel 4 at the time, he was every bit the big mogul.
As Yaniv “Nev” Schulman points out, he’s got a fair amount in common with Facebook creator Mark Zuckerberg.
Both are 26, from Jewish families in New York and live enviable lives surrounded by the latest in geek-dream software. And for both, being part of what Schulman calls “the first Facebook generation” has had unimaginable consequences.
How can you make a sitcom about Shabbat, and never mention the J-word? Friday Night Dinner writer Robert Popper explains that the rituals of Friday night with the family resonate beyond Golders Green and Edgware.
Eran Riklis bristles when he is described as "political". But the Israeli filmmaker says it is a label he has had to accept, albeit with trepidation. "The word political is complicated. I used to say my films were not political, and people would smile and say 'Oh OK'."
Riklis, 56, first received worldwide attention for his 2008 film Lemon Tree, about a Palestinian widow whose lemon grove is set to be demolished to make way for the house of an Israeli security minister. Surely Israeli films do not get more political than that?