Hungarian film director Bela Tarr usually divides audiences; some people love his films, others find them completely incomprehensible. Those who love his films are often filmmakers themselves -- fascinated by, and jealous of, his gorgeous lighting and intricately composed monochrome images. His output has not been extensive -- since 1988 he has completed only four features, two shorts and documentary -- yet his reputation amongst cineastes is enormous. Renowned for his slow pacing (Satantango ran 450 minutes -- that's seven and half hours!) and long single takes, his latest film, the monochrome The Man From London is no exception. Based on the novel by Belgian crime writer Georges Simenon (best known for detective Maigret) the film's almost wordless opening section, (taking up about a fifth of the film's length) is made up of just five long, careful shots. After witnessing a dockside murder and recovering a briefcase of money, nightwatchman Maloin's slow and isolated existence is upset and he is forced to confront questions of morality, shattered illusions and ideas of honour.

NB: The Man From London is released in London on 12/12. Also of note this week and released the same day is Lemon Tree and Love And Honour in addition to the one-off screening at the Barbican of Terence Malick's Badlands (14/12).

At their least adventurous, Edward Barber and Jay Osgerby could be said to satisfy the popular demand for the soft-edged, geometric fusion of a seamless eye pleasing quirkiness with rudimentary functionality. The demand for highly conceptual design in the home and work space has been catapulted into a near necessity, thanks to the generation of a public language of design that is both exceptionally simple and virtually invisible, due to its ability to assimilate into almost any environment. The language has become more complex in recent years, and interior design has integrated itself so completely into the fabric of commercial identity that, thanks to BarberOsgerby your foot stool or desk chair may be in secret collusion with your beverage and your favourite pair of jeans. The background both men share in architecture is obvious from their structural approach to making, and is why they fit right in with design/structuralists Established & Sons as well as in the foyer at the RIBA. At their least adventurous BarberOsgerby could be said to be feeding the ravenous public demand for simple functional design, but at their best they could be seen as gently nudging Britain into a future where aesthetics are key.

NB: also of note in terms of design is the V&A's Cold War Modern: Design 1945 - 1970 exhibition (till 11/01/09) and Matali Crasset at Rabih Hage Gallery (till 20/12).

Situationist Asger Jorn believed that great art is complete banality, but that "the fault with most banalities is that they are not banal enough". Simon Martin's video installation features an image of a hypnotically colourful Strawberry Poison Dart Frog that has been manipulated using CAD to breathe and move. The image is too good to be true (you might describe it as: "I can't believe it's not tree frog".) Along with this footage is an accompanying cinematic soundtrack full of shock and surprise cadences which react to nothing, and banal textual excerpts from airport novels. Scenes are described in boring detail: marble tables, sculptures, mirrors, lobbies, expensive ornaments -- the insulating padding of human drama. Characters take one step forward, touch a glass, take a bite of food, look away. Is this how images convince us that they are real? How we buy into their drama? The fragmenting of the film's three main components -- sound, text and image -- shines a spotlight on choice when constructing images -- visual or mental. Perhaps we learn more about a civilisation from the things that we usually fail to notice.

NB: runs till 18/01/09. On 13/12 (3pm) catch Dan Fox, Associate Editor, frieze in conversation with Simon Martin.

This talk will attempt to answer some of the questions raised by the falling value of contemporary art in our fragile economic climate, as well as the accusation that art is only accessible to a super rich elite. Damian Hirst's record-breaking Sotheby's sale in September seemed to indicate that the art market was immune to the worldwide financial crisis. However, a high number of unsold contemporary artworks in the recent New York auctions showed that art is far from invincible, and indicated that the art market bubble has finally burst. The talk is timed to coincide with the new ICA group show Dispersion, which questions the ownership of images in our "cut-and-paste" culture. Curated by Polly Staple, Dispersion features Turner Prize winner Mark Leckey. An intriguing panel of speakers includes artist and founder of the Free Art Fair, Jasper Joffe; Julie Lomax of the Arts Council; Andrew Burke, Director of the Bettany Centre For Entrepreneurial Performance; author of Seven Days In The Art World, Sarah Thornton; and Julie Freeman, creator of quirky website Dogs' Ears, where music is created by the flapping of a variety of dogs ears!

NB: Dispersion runs at the ICA till 01/02/09. On 11/12 (7pm) catch Dispersion curator and Chisenhale Director Polly Staple discuss the exhibition.

"Ladies night" may sound like an evening for gals not to be hassled by dudes, or a free night for women to meet men, but not when temporarycontemporary (all one word and no caps!) and Spartacus Chetwynd arrange it. This actually is a night dedicated to WOMEN (in caps!) and womens' ideas; and this is not just any ladies night, it is Helmut Newton Ladies Night. Chetwynd is renowned for her capacity and excitement at scratching out boundaries, teasing them till they crumble -- however unsubtle. In the past she has, with her merry band of supporters, drawn from such extremes as The Incredible Hulk to Yves Klein and Hokusai. For you futurists, in 2003 she enacted An Evening With Jabba The Hut which re-imagined said large entity as a ladies' man... But here, she has been invited to create an evening for the fairer sex. So expect "lesbian gore DJing" whatever that is, rantings, feminism (but not as you know it, Jim), fancy dress (for you liberated males attending), documentaries, impromptu lectures, and of course, loooads of bopping. Fun eh?

NB: Helmut Newton Ladies Night operates a very strict door policy -- women only and those who identify as such. This event is part of the GSK Contemporary season at the RA (runs till 19/01/2009).

It doesn't seem 12 months since we were trumpeting the merits of Sud Electronic's last festive shindig, which arguably exceeded expectations. 2008 has been the strongest year yet for Sud -- further consolidating their place as one of the capital's most consistent nights, whilst still retaining a strong sense of independence. Chiefly, the choice to hold parties at more intimate, lesser-known spaces is at the core of the ethos, and their choice of musical guests possesses unfaltering integrity. In keeping with tradition, their Xmas party brings together a few artists with strong ties to the camp: Efdemin from Hamburg's Dial Records is joined by label mate and collaborator Rndm (make sure you check out both Promises and "Helios" to hear what they get up to), together with Connecticut's most famous deep house export, DJ Jus-Ed -- a man who's had an exceptional year of his own. In such safe hands, and those of Sud owner/resident Lakuti, a night of superb music is guaranteed. The Dalston venue was tried, tested and wholly approved of at their last party with Prosumer and Scott Ferguson, so the signs are good for this one.

With just over a month to go before The End closes its doors for the final occasion, time is running out for those wishing to make the most of this clubland institution. If you're looking for an excuse to frequent the premises then this weekend provides the perfect opportunity, with another installment of the excellent Need2Soul night. Across three rooms you'll find some of the best proponents of house music around, from New Yorkers' Joaquin "Joe" Claussell and Jerome Sydenham's deep house in the main room, to the more off the wall disco offerings from the likes of Maurice "Syclops" Fulton and Faze Action in AKA. With a whole host of stellar line-ups lined up to send The End off into oblivion, the next month will provide plenty of reasons to head to central London's only decent large club. If the thought of an End-less London seems too much to bear we suggest you start the grieving process on the dancefloor this weekend.

Director Terence Malick might be better known for his masterful dramas depicting the destinies of men at war against the world such as The Thin Red Line and Days Of Heaven, but his first feature film was all about forbidden love. When Kit (Martin Sheen), the charming yet indifferent garbage man, falls for Holly (Sissy Spacek), a sheltered teenager, their adventure soon turns into rampage as Kit kills Holly's father and whoever stands in their way. Based on the Starkweather-Fugate killing spree that took place in the '50s, the story is presented from the viewpoint of view of Holly who delivers her thoughts and observations via voice-over, giving an oddly naive take on the grizzly events. The violence of Kit's actions is countered by the meditative pace of his and Holly's journey from South Dakota to the Badlands of Montana. Awkward and disturbing, the film's main appeal lies in the unlikely yet very successful casting of the very young Sheen and Spacek. Sheen, with his roguish good looks, strikes the right balance between the charming looser and the psychopath, while Spacek in her hot pants and knee socks is pretty yet awkward enough to be believable as the teenager who falls for him.

NB: also of note this week is the release of Love And Honour, Lemon Tree and Bela Tarr's The Man From London (12/12).

Christmas On Mars is the first feature film from the Wayne Coyne-lead, multiple Grammy award-winning psychedelic pop mavericks The Flaming Lips. Noted for their extravagantly theatrical, multi-sensory live shows as much as for their lushly arranged, wigged out music, their performances are more like synaesthetic events than gigs, so the audiovisual possibilities of cinema seems a logical, even inevitable, next step. Directed with lo-fi alacrity by Coyne, mostly in his Oklahoma City backyard, and featuring a typically dreamy and expansive soundtrack by the band, Christmas On Mars tells the story of a newly founded Red Planet space colony helmed by one Major Styris (Steven Drozd) who is organising a pageant to celebrate the birth of its first space baby. Alas, the oxygen system is on its last legs, the space station is self-destructing and Space Santa has committed hari kari in an airlock. Enter mute Martian (Coyne) who might just be able to save the day. Much unhinged, psyche-fi merry-making ensues, with nods to Dark Star and The Wizard Of Oz along the way, all of which will sate long-term fans and curious goggled-eyes adolescents looking for a hip -- if deranged -- slant on Yule alike. What's more, the avuncular and amusing Coyne will be on hand to elucidate the meaning behind the madness.

NB: both 12/12 and 13/12 screenings are sold out and not many tickets remain for the 14/12 session, so make sure you buy your tickets fast.

The old adage "if ain't broke don't fix it" is something that Jamie Lidell clearly does not agree with. Having gained a sizeable fanbase amongst the IDM set with his avant-garde take on funked-up electronica in Super_Collider and early solo work, Lidell has over the course of his past two albums, Mulitply and Jim, morphed into what fans call superior soul and detractors snidely compare to Jamiroquai. The latter has been known to anger Lidell, but nonetheless, his current exploration of music serves him well given that he now takes up headline performances in reputed venues including Shepard's Bush Empire. Providing support for Lidell are Fujiya & Miyagi who seem happy to go with the "ain't broke" approach as indicated on their recent album Lightbulbs, ploughing the same krautrock furrow as their debut album Transparent Things which brought them countless praises. Intrigue is added to the bill in the shape of East London urchin Micachu, classically trained and with an approach to music which clearly took the fancy of Matthew Herbert -- he has produced her debut album which promises to be one of the more interesting releases of 2009.

NB: this event is brought to you by Eat Your Own Ears. Another EYOE gig of note is James Yorkston + Alasdair Roberts at The Lumaire on 17/12 (8pm).

An unforgettable opening of thunderous strings in a defiant arpeggiated chord of D minor breaks into melancholy lyricism like windows opening onto a dusky day. Across the strings' surging waves we are led to the piano solo: grand, romantic, sensuous. Written when he was just 25, Brahms' Piano Concerto No 1 is one of the masterpieces of the repertoire, revealing the composer's genius for dramatic melodies and, above all grand orchestral writing in the manner of Beethoven's symphonic writing (which the young Brahms was emulating). He would later develop this to remarkable effect in his symphonies -- the tremendous Symphony No 1 will be performed on the 18/12 as part of the same series -- and in the magisterial Piano Concerto No 2 (performed on 21/06/09). It will be performed tonight by the young, gifted pianist Lars Vogt, a terrific opening to the LSO's Love Brahms? season. The evening will begin with Bartok's electrifying Music For Percussion, Strings And Celeste (1937), one of his best-loved works, and rightly so. Characterised by the eastern folk elements -- notably, polytonality (the playing in different keys simultaneously), and frenzied rhythms -- so loved by Bartok, this is an absolutely singular piece of music writing that has no precedents, and which pioneered innovations other composers assumed only decades later.

NB: the LSO's Love Brahms? season runs from 14/12 till 05/07/09.

Reportedly based on a true story, Lemon Tree highlights the often absurd situations that occur between Palestinians and Israelis as they endeavour to live side by side. Israeli filmmaker Eran Riklis' story of a Palestinian widow (Hiam Abbass) standing up to her big-shot Israeli neighbour seems to suggest that you can fight City Hall (or in this case, the Israeli Cabinet). Salma's new neighbour -- chasing the universal urban dream of the beautiful countryside -- is the Israeli Defense Minister. Salma is a Palestinian farmer's widow, eking out a living through the elderly but picturesque trees in her lemon grove. Her neighbour's moving vans have barely departed this rural idyll when his security forces pronounce the lemon trees a "critical security risk" and bring in the chainsaws, watchtowers and fences: there goes the neighbourhood... Up against international politics, tradition (although defending her husband's land, she is apparently shaming his memory by drawing attention to herself) and a legal minefield (together with everyone who wants to make an example of her) she takes her quiet but persistent argument all the way to the Israeli Supreme Court. A beautifully calm and measured performance by Abbass, whose grave face and sad eyes speak volumes.

NB: Lemon Tree is released in London on 12/12. Also of note this week and released the same day is Love And Honour and Bela Tarr's The Man From London in addition to the one-off screening at the Barbican of Terence Malick's Badlands (14/12).

As with Yoji Yamada's first two instalments in what is known as his "Samurai Trilogy", Love And Honour is a refreshing departure from the stylised, martial arts focused epics that dominate the genre. Too often the Edo period is boiled to simple two-dimensional characters -- docile, doll-like women; rigid, gruff giri-bound men. Yamada takes the fascinating hierarchy of the period's caste system and instead uses it as a background for more human stories. Love And Honour follows the story of Samurai Shinnojo, a frustrated young warrior reduced to the role of food taster in the Shogun's household. An accident renders him blind, and the rest of the film examines his struggle with his own sense of honour as his wife Kayo does what she must to to support them. Lies, beauty and betrayal combine with the titular love and honour to create a film that is gentle but meaningful, with one excellent duel for those that need it. Not as compelling as The Twilight Samurai and The Hidden Blade, but exemplary of his style and beautifully produced.

NB: Love And Honour screens at the ICA till 15/01/09. Also of note this week and released the same day is Lemon Tree and Bela Tarr's The Man From London in addition to the one-off screening at the Barbican of Terence Malick's Badlands (14/12).

No, it's not another ironic name for a club night; techno prodigy James Holden and bloggers celebres Allez Allez are really playing a gig that includes bona fide bourgeois refreshment. Visions of melting cheese really will be coming from the table in front of you and not chromakey projections on the wall. What's more, the nosh is free at first, meaning you'll find yourself dipping while twisting and probably both at the same time. It's probably worth bearing in mind that this being a real Swiss affair, the no "double dipping" rule is likely to apply and you should also keep your lips away from that fork. Probably advisable, in order to avoid impaling yourself in a moment of musical excitement. It really is unthinkable that someone other than the super brain and founder Mr Holden could Border Community dream of making such an event plausible. So if the cuisine doesn't prevent you suspending your disbelief then you could be in for some wonderfully free-form noodling and mixing liable to excite your brain even more than sugary desserts.

NB: get your tickets fast as this event will sell out.

In their own almost own self-contained genre, Stereolab bridge the gap between post-rock, indie, and avant pop. Their sound is pan-European, with one foot in the '70s, but almost nostalgically futuristic. Since 1991, the mainstays of the group -- Tim Gane, Laetitia Sadier with Mary Hansen (who tragically passed away in 2002), Morgane Lhote, Andrew Ramsey and Richard Harrison -- have been augmented with a veritable Venn diagram of collaborators: Jim O'Rourke, Mouse On Mars, Tortoise's John McEntire, and Sean O'Hagan (of the High Llamas). Via labels such as Too Pure, their own Duophonic and lately 4AD, the group's sound has remained remarkably consistent. Often motorik or metronomic precision meets a funk-lite groove, locking down their pastel-shaded geometric chord progressions, always set against Sadier's wistful, controlled vocals, tinged with warm harmony or sometimes detached melancholy. An unkind critic might say they were like great interior designers, each release seeing their exquisitely designed aural furniture rearranged but fundamentally unchanging, form following funk-tion. Astrud Gilberto can collide with Steve Reich in this electronica-tinged pop vision, and the new album Chemical Chords veers between chamber, cabaret and psychedelic prog.

Matali Crasset uses nerdy widgets to tech-up your home in whimsical ways. She wants to break up the way we live and infiltrate ideas of sustainability. What a relief to see Philippe Starck proteges doing something rough, prototyped, unfinished and, well, interesting. Crasset claims not to care about objects out of context -- its all about how you use it, baby! She has worked with hi-tech firm Thompson Multimedia and her industrial design, in-your-face-Ron-Arad approach shouts "give me content content content". Gallerist Rabih Hage has commissioned two pieces -- one is a lamp powered by moonlight -- is it a teensy bit preachy and nose/spite/face-ish? (why not run it off sunlight, there's more and it is also free?). No, its about thinking different about energy sources, ok? There's also a chandelier that reads the colour of your food and beams it around the room. All very well if it's tricolour salad, less good if you've got curry and chips for dinner. What about a gismo to project your desktop onto the wall behind you, Matali? Trigger-happy employers could do with some help weeding out the work-shy serial ebayers right now.

NB: runs till 20/12. Two other design events of note are Edward Barber and Jay Osgerby's talk at the V&A on 12/12 (7pm) and Cold War Modern: Design 1945 - 1970 also at the V&A till 11/01/09.

Merlin James is he is not an artist who casually uses paint to make pictures, nor is he a conceptual artist who makes ideas with paint; rather he produces ambitious objects, on display here, that push the boundaries of the "object" we call "painting". How so? Look closely and you'll see that there are holes, tears, sticks, hay, material of dodgy origin, and, oh, acrylic (not oil). Yet with these simple, if sometimes tawdry, means James is able to attack the traditional genres: the nude, landscape -- even horses on landscapes -- abstraction, and some less traditional images like people in cinemas. Somewhat like the black abstracts by Picabia, James is working at the dissonant space between the painted object and representation. That is between thing and image. For example holes immediately cancel out pictorial fictions and bring us crashing back to reality, and in days past we might have called this state of unease, "ambitious painting". Today it is just unfashionable -- but, oh, how rapidly fashion changes. Likewise James has curated Serge Charchoune in the rear gallery, a painter that never hit great commercial heights, but nonetheless is an interesting case. With his dry paint and slightly scumbly style, fluctuating between representation and abstraction, it is no wonder that James is a champion.

NB: Merlin James' show runs till 24/01/09 and Serge Charchoune's show runs till 31/01/09. In the last week of the exhibition, Charchoune will be expanding into the entire space. James will be delivering a talk for the occasion. Contact gallery for details.

KultureFlash is a free, weekly newsletter covering contemporary culture in and around London. Each week we track down some of the more unusual and interesting events taking place in the capital and deliver them straight to your inbox. Featuring art, gigs, films, talks, clubs and more -- we are committed to bringing you an eclectic mix of the most stimulating events in London.

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