Resfest reaches the ripe old age of 10. The festival continues to showcase the world's most innovative and exciting filmmakers. This year 30 countries are represented along with a six continent, 45 city tour! Not bad for a festival that when first launched only visited five cities in the US. Nothing has changed in terms of programming and resfest continues to be a smorgasbord of shorts, promos and feature films. Below are our picks:

Shorts One: State Of The Art
Tue 14/11 at 8:45pm
Resfest's flagship showcase of the best of best of shorts. Whether you are into animation, documentaries, live action or motion graphics there is something for everyone. Keep an eye out for Richard Fenwick's The Box. (After the programme catch the Coldcut DJ party in the NFT Film Cafe.)

Cinema Electronica
Fri 17/11 at 6:20pm
A showcase of the best promos in the world of elcetronica and hip hop. (Videos for tracks by Jamie Lidell, Venetian Snares, Tiga, Vitalic, Psapp, Massive Attack and Gnarls Barkley among others.)

A Decade Of Resfest: 10 Seminal Short Films
Fri 17/11 at 8:30pm
What it is says on the tin!

Shorts Three: Fear And Trembling
Fri 17/11 at 8:40pm
A programme consisting of shorts that are dark and scary! One of them being Moloch by Polish director Marcin Pazera (featured on last week's header).

Radiohead, The Visionaries: 10 Years Of Breaking New Talent
Sat 18/11 at 4pm
The best band in the world and their best videos. (Works by Jonathan Glazer, Michel Gondry, Alex Rutterford, Sophie Muller, Johnny Hardstaff, Mike Mills and Ed Holdsworth among others.)

Videos That Rock
Sat 18/11 at 6:20pm
Promos for songs by the likes of The Knife, Mogwai, Beck, Death Cab For Cutie and Hot Chip.

Sweet Talk 16: Airside, D.A.D.D.Y., Shynola and Universal Everything
Sat 18/11 at 6:30pm
Design gurus get together and reveal their secrets. (Other guests TBC.)

By Design
Sun 19/11 at 3:50pm
Want to see what's going on in the world of motion graphics, computer-generated imagery and innovative animation techniques? Then this is a must. (4F by Uonuma is part of this programme and featured on this week's header.)

NB: resfest 10 London runs till 19/11.

Over the past few months Artangel's Interaction programme have presented Nights Of London in conjunction with Sukhdev Sandhu's Nights Haunts, a diverse series of artist-led projects exploring a nocturnal London. The penultimate event, A Night Sublyrical, has been co-created by hip-hop theatre artist Jonzi D and a group of non-professional dancers and poets recruited from evening classes around London. Jonzi D, actively involved in the British hip-hop scene since the early '80s, has previously performed as an MC / poet with The Roots, Lenny Henry and Gang Starr, amongst other. His hip-hop theatre group, Jonzi D Productions, runs regular showcase events at Sadler's Wells. At A Night Sublyrical, expect to be led around the dark corners of Electrowerks amidst low-fi light trickery and a range of energetic characters, ranging from fantastical dream-like creatures to the nightclub dancer.

NB: catch a performance at 7:30 or 9pm. Tickets are free but you need to book by sending an email to nights@artangel.org.uk. On 24/11 (7:30pm - 3am) celebrate the closing of the Nights Of London series at Because The Night.

You would expect a concert by a group of European jazz musicians called Supersilent exploring the outer limits of improvisation to be a seriously minimal affair. The reality is starkly different. The music is mainly dense, direct and often played so loud that it takes on a physical presence. The name Supersilent begins to feel rapidly arbitrary in reference to the music, but it does describe quite aptly (whether accidentally or not) an attitude towards representation, particularly when you consider that their recorded output consists solely of numbered live recordings with no liner notes or further information. The performances alone appear to form the entire dialogue between the members of the group and on stage it feels like a full blown argument could erupt just as easily as a cordial conversation. The interesting thing is that apparently neither is considered any less musical.

NB: support from In The Country and Susanna & The Magic Orchestra. This event is part of the London Jazz Festival.

First and foremost, Matthew Herbert is a thinker; his musical style dictated, and only rarely bogged down, by a personal manifesto which, among other restrictions, forbids personal use of drum machines and states that every sound created on record needs to be able to be re-created live. While this has led to him releasing ever-more innovative albums using, for example, the human body as an instrument and a big band, it's no surprise that less puritanical acolytes create the same kind of rhythms and melodies using more straightforward techniques, applying their own work to emergent sub-genres and categorising the building blocks by association. So, when it's said that Herbert's new album Scale is too mainstream, be sure not to be taken in by its straightforward, dancefloor-friendly sound; it's simply the sound of a man trumping his many imitators. Herbert brings his live show to the cavernous KOKO (one of the best super-venues the city has to offer, if also one of the hottest) to help celebrate the 21st birthday of outstanding dance and jazz label !K7; support comes from Henrik Schwarz and Jade Fox.

Fresh from opening for Hot Chip on their recent UK tour, Canadian disco popsters Junior Boys touch down in east London, with Eat Your Own Ears inviting them to take over the ever popular Cargo for the night. The Junior Boys' second album, So This Is Goodbye (Domino), was released in September to critical acclaim (even Pitchfork were close to wetting their pants) and is certain to be snugly nestled in many an end of year chart. On record, Jeremy Greenspan's smooth vocals work perfectly with the understated melodic synth sound that touches on '80s electropop and production reminiscent of the futuristic r'n'b template set by Timbaland. This combined with the confidence gleaned from playing to swathes of Hot Chip fans last month should make for an excellent night of music.

NB: support comes from the excellent Kode9 whose latest LP Memories Of The Future was released last month on Hyperdub.

Following last year's White Christmas, Luca Silvestrini, who has successfully treated us to his high energy, humorous dance theatre, is back with Big Sale, a show that certainly delivers the goods. All the ingredients of good theatre are there, from great set, costumes and staging mixed with sharp and witty text, to talented performers. Making full use of the stage, a mishmash of discarded furniture strewn around under scaffolding, Silvestrini creates inventive ensemble dances as well as moving solo pieces. The set becomes part of the dance and contributes danger and fun. A flowing series of scenes explores consumerism through characters such as the Beckhams, a TV game show host and a group of female hair wrestlers. We are also invited to buy into the action only to get slapped back into reality, reminded that all here is acted or for sale, including emotions. Although highly entertaining the show falls short of taking us somewhere beyond consumerism. But isn't that consumerism's greatest achievement, always making us want something new and different? Think about it whilst doing your Xmas shopping.

NB: Big Sale runs till 18/11.

Every architecture attracts its own type of building: SOM does offices; Foster does banks; Gehry does museums. Form follies function. Modernist experimentation was primarily found in the house: today such experimentation resides in a building devoid of function: the art pavilion. Consider the Serpentine's summer pavilions. Though admirable forms, this is architecture "all dressed up with nowhere to go". The limitations of the "pavilion as warehouse" were recognised this year: appearance (inflated, perforated, folded, tessellated...) being of less interest than use (the 24-hour marathons formed the architecture, not the balloon as building). Lars Spruyboek forged his reputation on "small art related experimental architectures". His Freshwater pavilion and his "Vision Machine" are complex computer manipulated morphologies rendered obscure by perplexing explanations: "In my architecture I don't want to move away from programme towards non-programme: undefined areas of pure leisure and play. I'm more interested in finding play within work, in finding the undetermined within the determined. The 'space of accidents' is related to oppositional thinking that sets the necessary against the accidental." Indeed.

Glenn Ligon's first solo show in the UK, titled Brilliant Corners after the exceptional album by Thelonious Monk, brings together a series of interesting, text based paintings and neon sculptures that explore, through sources of varying flavours of profundity, issues of gender, race, history and sexuality. The neons provide abstracted statements (borrowed from Gertrude Stein or Sojourner Truth) that become heightened and esoteric as a result of their chosen method of display. In the main gallery space, black or white text, taken from some of Richard Pryor's finer stand up gags, is stencilled onto painterly, Warholian, silver surfaces. The stencil is presumably not cleaned and the paint used freely as the letters are muddied and textually enriched. The obscuring of the text is most evident in the largest, most dramatic piece in the show, Stranger # 23. Made from oil, coal dust (another beautifully subtle reference to Warhol), acrylic and gesso, the text, taken from James Baldwin's 1953 essay Stranger In The Village, is almost completely lost amongst the incredible, glistening, impasto, black surface. Ligon seems to work towards immortalising, through obliteration, the importance of the texts he has chosen, and the significance of the chosen authors in the shaping of his own identity.

NB: runs till 18/11 (the third leg of a worldwide touring exhibition is currently at the Andy Warhol Museum in Pittsburgh).

Given that 0.5% of the world's population is related to Genghis Khan, it's a wonder there isn't more pillaging going on. Perhaps they are all channelling their talents into more mundane 9 to 5 occupations -- pretty disappointing, but then it's hard to live up to such a high-achieving ancestor. Ruler of the largest continuous empire in world history, he conquered China, Mongolia, Russia, Azerbaijan, Armenia, Georgia, Iraq, Iran, Turkey, Kazakhstan, Kyrgyzstan, Uzbekistan, Pakistan, Tajikistan, Afghanistan, Turkmenistan, Moldova and Kuwait; created the most efficient and successful army in military history; and still had time to populate most of Asia with his descendants (including grandson Kublai). What was his secret? John Man might be able to tell you at the British Museum this Saturday.

NB: this lecture is free but you must book by calling the box office on 020.7323.8181 or by sending an email to boxoffice@thebritishmuseum.ac.uk.

The award-winning Finnish YL Male Voice Choir is one of the most prominent male choirs in the world. This concert is a world premiere with a programme including new compositions by Tarik O'Regan and Einojuhani Rautavaara. Conducted by Matti Hyokki, it will be led by tenor Tuomas Katajala and Ville Matveinen on piano. Founded in Helsinki in 1883, YL is Finland's oldest Finnish-language choir and a pioneer in Finnish choral music; it is one of the top choirs in Finland today. YL originally premiered the works of Jean Sibelius for male choir, and many of Sibelius' best-known choral works were commissioned by YL. Today, the choir is known not only for its authoritative performances of Sibelius, but also for commissioning and premiering new Finnish and foreign choral music. The London programme will include works by Jean Sibelius (Rakastava or The Lover), Einojuhani Rautavaara with Four Songs To The Poems Of Aleksis Kivi, Joji Yuasa with Four Seasons From Basho's Haiku, Franz Schubert's Standchen (Serenade), Tarik O'Regan (premiere of Lamentation), Einojuhani Rautavaara (La Mort des pauvres and Le Bain), Randall Thompson (Alleluia) and Rossini (La Danza) and more.

Calling your event the "Party of the Year" could be regarded as courting hubris on a grand scale, yet if you're possibly the hottest label du jour and have a line-up packed with some of the most exciting bands around then there's sometimes no need for false modesty. Luckily for Modular, both the above statements ring true and their party at Canvas this weekend should be quite spectacular. The main draw for many will be New Young Pony Club, the disco-punk-funk five-piece from London, who fresh from upstaging Lily Allen on her recent tour, should be in fine form. They're joined by equally hyped label-mates Van She and some mystery guests (an educated guess would suggest someone like Klaxons turning up). Once the bands are done doing their thing it's time to ramp up the BPMs, press the big button marked "now" and do the running man as the likes of Matthew WoWoW, Bang Gang DJs and the electrifyingly good MSTRKRFT mix up electro, baile funk, disco punk and all sorts of intensely 2006 sounds.

Acid Mothers Temple a "Soul Collective": part band, part record company, part religion even? They seem to be something like the Wu-Tang Clan, but from Japan (or maybe Saturn, where Sun Ra came from), circa 1970. This particular incarnation of the collective -- Acid Mothers Temple & The Melting Paraiso UFO -- features a new singer Kitagawa Hao and puts the end of its UK and Ireland tour in the hands of Komische, at Corsica Studios. That's not all the night will offer: they're joined by the never ending Duracell, on drums and triggered 8 bit synth, like Lightning Bolt and The Scotch Egg Band squeezed into one person, the disco-noise-mentalism of Hunting Lodge and also The Early Years. On top of that, the scientific journal of weird: Strange Attractor will be running a salon of audio and visual experiments.

NB: get there early as there's much fun to be had.

Emerging from a hotbed of African, South American and European cultures, jazz was arguably the first "World" music. It's no surprise then that almost a century later, contemporary jazz remains a vital form of expression for creative musicians from diverse cultures. Embodying this approach entirely is this fascinating collaboration between Iranian-born, New York-based vocalist / composer Sussan Deyhim and the promising young, London-based Russian saxophonist Zhenya Strigalev, who perform in the elegant, Waterloo-based Baltic Restaurant as part of the London Jazz Festival. While Deyhim draws from both mystical Sufism and digital technology for her mesmerising vocals, Strigalev mixes passionate, witty Art Pepper-like bop with a subtle twist on his Russian folk / classical roots. Besides working with leading cutting edge performers such as Bill Laswell and Bobby McFerrin, Deyhim has experimented in many areas, including theatre, film and multi media, to great acclaim, over two decades. Along with drummer Steve Ferrone and pianist Sir Gant, the performance -- her first in London since 2002 -- will be based on her recent William Burroughs-inspired project The Last Words Of Dutch Schultz. As a special treat, film director Mike Figgis -- who writes his own film music and is also no slouch on the trumpet -- will open this unmissable event.

NB: this event is part of the London Jazz Festival.

Isabelle Huppert and Gerard Depardieu shine in this charged but un-stylised film. Its basic premise, an affair between two individuals whose backgrounds are worlds apart. The hackneyed pairing of the bored rich girl and her bit of rough from the wrong side of the tracks is taken hold of here with subtle and loose direction from Maurice Pialat. This un-judgemental work is filled with images that are quite unforgettable. In another auteur's hands both the story and the characters would tediously be going through the e/motions only to serve plot requirements. Pialat's exciting decision to let the personalities of the actors reveal themselves in tandem with the characters they inhabit is a noticeable masterstroke. All through this wonderful film one has the keen sense that each scene would be impossible to replay, such is the captured magic of these performances. It is that rare thing, a film that makes others look rather laboured. The languorous and uninterrupted takes invite you along for the ride also. Loulou is shown here as part of the Isabelle Huppert Season at the NFT in a newly restored print. With some lame Americanisms in the subtitled translation aside, Loulou is memorable cinema which deserves an opportunity to reach a new audience.

NB: Loulou screens at the NFT from 17/11 till 30/11.

John Huston has the ability to adapt just about any narrative for the big screen, yet his films consistently revolve around ordinary men stoically attempting to rationalise extraordinary circumstances. "After all, crime is only a left-handed form of human endeavour," states an ex-convict about to embark on his next theft in The Asphalt Jungle (screens at NFT till 15/11), widely recognised as Huston's masterpiece in the caper genre. Between The Maltese Falcon, The African Queen, The Treasure Of The Sierra Madre, The Red Badge Of Courage, The Man Who Would Be King, Wise Blood and The Dead, it's sometimes hard to distil the other essential qualities of a Huston masterpiece. American film historian Joseph McBride will put his unparalleled knowledge of Huston's career to the task and explain exactly what makes a film "Hustonian". You can then put your newly acquired perspective to the test by seeing all the noirs, westerns and thrillers you can handle during the John Huston Season on till the end of December.

NB: the admission price to this lecture is a combined ticket with the 8:40pm screening of The Red Badge Of Courage -- both events have been programmed in conjunction with the NFT's John Huston Season (runs till 30/12).

"We do not have art but we do the best we can." A Balinese mantra espoused by the work and teachings of California-based Catholic nun Sister Mary Corita Kent (1918 - 1986). This slightly sparse yet revelatory show of posters, illustrated books and documentaries provides a belated yet timely introduction to a Pop artist who, although having appeared on the cover of Newsweek magazine in 1967, is today relatively unknown. Evoking strong comparison to artists such as Richard Hamilton, Lygia Clark and Joseph Beuys, Sister Corita's radical interdisciplinary outpouring of graphic arts, happenings and teaching bears scant religious overtones, instead advocating a distinctive form of individual creative liberation explicitly engaged with an activist's sense of the social and the political. Her work and words belie an amazingly perceptive understanding of the visual, continuously pushed ever further through dogged research into forms and philosophies as disparate as mass media, American Transcendentalism and modern linguistics. A fascinating figure, it appears she mistrusted art, couldn't define it, but pursued it with tireless conviction. It is a world far away. But we believe her and trust her. Go live and learn.

NB: runs till 26/11. If you go east this week make sure you catch Gillian Wearing's show before it closes at Maureen Paley (ends 19/11).

Patti Smith is a celebrated punk poet and musician. She is known for such groundbreaking rock masterpieces as Horses (1974), and was once a lover, friend and artistic collaborator with the legendary photographer Robert Mapplethorpe (who took the iconic photo of Smith for the Horses album cover and financed the recording of her band's first single). For her accomplishments, she was recently awarded the Commandeur of the Order of Arts and Letters, also given to such luminaries as Susan Sontag and William Burroughs. Now, at the ICA, she presents her first book of poetry, Auguries of Innocence (published by Ecco), for more than a decade, in which she captures her brilliant vision of our world through powerful anthems, raw ballads and fiery lyrics. She will perform songs intermingled with poems.

NB: for poetry fans make sure you catch Michael Horovitz as he introduces Moazzam Begg at the Everyman Cinema on 16/11 (8:30pm).

A prolific and distinctive composer, Ennio Morricone is finally playing his long-awaited series of famous film scores and more, rescheduled from July at the Hammersmith Appollo. Perhaps most famous for his legendary scores for Sergio Leone's The Good, The Bad And The Ugly, and Roland Joffe's The Mission, Morricone has worked with some of the most celebrated and controversial directors in the history of the silver screen, from Pier Pasolini to Roman Polanski. This weekend's showcase features a selection of greatest hits and best kept secrets from an impressive career spanning nearly five decades. Tickets are a bit on the spendy side, but for die-hard fans, it's a rare chance to see the master at work. Backed by the Rome Sinfonietta, and the Crouch End Choir, Morricone promises an exciting and eclectic performance.

NB: Ennio Morricone performs on both 01/12 and 02/12 for tickets click here.

In a globalised world in which no corner is left unmapped and where you are never very far from a Big Mac, Scottish-born artist Charles Avery has proposed the existence of a very unusual kind of island. Avery has embarked on a 10-year project in which he will build upon the fantastical topography of his Island and embellish stories about its extraordinary inhabitants. From the first proper London manifestation of the project, at Cubitt and Alexandre Pollazzon simultaneously, one may already learn of the bleakness of the eternal forest, the existence of a bottomless hole and of a Doppelganger for every inhabitant, and the giant plane on which the island's gods roam. Other inhabitants -- many sounding pretty unpleasant -- you are invited to meet include a giant number 2 figure and a platypus-like character known as Mr Impossible. Told through maps, delicate drawings, surreal models and an elaborate text, the story so far is intriguing enough to whet one's appetite for the next instalment. Go now, so you can follow the project from the beginning...

NB: Charles Avery exhibits at Cubitt till 03/12 and at Alexandre Pollazzon till 16/12. At Avery shares his billing with Keith Wilson, who is showing an equally mysterious and quizzical piece, a structure titled Ring that -- one has to be told -- served in a previous life as a portable pen for livestock auctions.

Projected onto a pristine billboard in the Chisenhale's cavernous space, House Without A Door is the result of a residency in Utah in 2005. Bernd Behr's mesmerising film explores desolate buildings in the Utah desert, set to a dramatic score by Marcus Fjellstrom. The tense soundtrack, long piercing shots and moments of surreal drama reminiscent of German expressionist film are tropes which the artist uses to tell the story of a replica Berlin housing estate built during WWII in Utah as a site to test incendiary bombs. As we entered the film, harsh sunshine was bursting from behind a monolithic concrete structure, intensified to a pitch by Fjellstrom's jangling music. Behr's intricate views of lone buildings and unfinished houses, often characterised by their stillness, superbly culminate in a shot where through the horizontal wooden slats of a half-built house, a tiny American flag flutters in the distance, barely recognisable. In another scene smoke slowly drifts through a Perspex architectural model, billowing down miniature corridors and through clear-cut doorways. Next is a staircase on fire, the flames lapping endlessly at nothing but darkness. Echoing the fate of the replica Berlin housing estate, Behr turns these strange Utah houses into stages set for destruction -- the most perfect consumption of a building by fire.

NB: runs till 17/12.

You could forgive 24-year-old Californian Joanna Newsom for imagining a sector of the contemporary music press to be insufferably conservative (who'd have thought it?). That Newsom's second album has the audacity to conflate arpeggiated classical harp figures, the baroque orchestrations of erstwhile Brian Wilson collaborator Van Dyke Parks and lyrics that blend Edward Lear fancy with Emily Dickinson introspection, seems to have nonplussed those for whom Razorlight represent the apogee of contemporary musical invention. Granted, Newsom's voice is an acquired taste (a more ethereal Karen Dalton essentially, given to unexpected screeching leaps) but Ys five, meanderingly marathon essays deserve plaudits for their artistic ambition alone. "Emily", a slowly unfurling paean to Newsom's eponymous sister, is perhaps the highlight, but this is an album that should be taken as a whole -- its songs more akin to lengthy chapters in a gothic novel, or opaque stanzas from an 18th century epic poem. Not a comparison Razorlight can expect any time soon.

To buy Ys online click here.

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