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Ann Deslandes reports that Gael García Bernal and Diego Luna's Ambulante documentary festival gamely plays in all kinds of cinemas and public spaces, with a 2017 focus on violence and corruption.

Addressing alarming data and chatting with Melbourne International Film Festival's Michelle Carey, Cameron Williams estimates the power or not of Amazon and Netflix to limit choice in Australian international film festival programming.

Lauren Carroll Harris travels to Kandos in regional NSW to experience Cementa17, witnessing a town and surrounds turned over to innovative art and ecological thinking, raising key questions about local engagement and infrastructure capacity.

In Julia Ducournau’s Raw, a "brutally perceptive portrait of adolescent transformation," "the struggle between human caring and the all-consuming cannibalistic urge, is never downplayed nor simplified," writes an engrossed Katerina Sakkas.

New works from Melbourne's Paea Leach and dancers from Townsville's Dancenorth engaged Bernadette Ashley with their inventiveness and the challenges they presented this highly skilled company.

Nola Farman and various personae have been "stealthily upping the neo-Fluxus quotient in the seaside suburb of Clovelly" with, among other things, Flight, an exhibition with a sense of the absurd, writes Keri Glastonbury.

The Farm (Gold Coast) and Co3 (Perth) unite to create Frank Enstein, a dance work for younger audiences based on the series of books for children but upgraded to adolescent longing for love, realised with powerful choreography and a great sense of fun, writes Kathryn Kelly.

We mourn the passing of John Clarke, writer and performer, and the loss of the wry eye he cast on the increasingly self-parodying state of Australian politics in Clarke and Dawe and, looking back, on bureaucracy in the brilliantly incisive The Games, a classic.

This week's reading and viewing: refugee writing as literature; everyday Chinese snaps rescued from a recycling plant; and a celebration in Paris of the work of seminal video art maker Peter Campus. After the apocalypse, survivors without electricity and only their memories mine the lode of the TV series for cultural survival, writes Ben Brooker in an incisive review that reveals the deeply engaging play's even greater referential reach.