Public events in the summer don't come much more magical than a big screen erected in some beautiful location, being watched by tens of hundreds of people, all in relaxed good moods, in shorts and summer dresses, picnicking as the sun goes down and the night stays warm. You wouldn't necessarily expect this down in the Docklands.

Sure, this isn't quite a drive-in Saturday with your sweetheart, but TfL's art initiative, Art on the Underground, present the second curated commission for their Canary Wharf Screen, a big (Big) screen in that most corporate part of London.

Following Film and Video Umbrella, this season, titled Move On Up, is curated by Because favourites Animate Project, and is comprised of work by artists including Andrew Kötting, Dryden Goodwin, Semiconductor, Suky Best, Run Wrake, Kayla Parker, Tal Rosner, Alan Warburton, Katerine Athanasopoulos, Susan Collins, Simon Faithfull, Stuart Hilton, Andy Martin, Joe Magee & Alistair Gentry, Caroline Melis and Susanne Flender. Quite a Who's Who if ever we've seen one. And it's shaping up to be The art event in East London's jam-packed summer. Opening tonight and on display by the Museum of London Docklands until 26 August, this season will be followed by curated commissions by LUX and the BFI. Such public commitment to artists' moving image is rare (though currently becoming less-so), and the quality is there to rival any other part of the Cultural Olympiad. Hats off, then, to everyone involved and TfL (at least they can get one thing right on the Jubilee Line). Then off to the Slug & Lettuce to watch the sun set over the Orbit Tower.

Move on Up is at Canary Wharf Station from tonight, until 26 August 2012.

Summer's coming, and with it a blockbuster roster of art and culture - particularly in this, the Olympic, year.  A follow-on, of sorts, from a previous post on Diemar/Noble and their wonderful annual ritual of bringing Fitzrovian photography to the streets of central London, this Friday sees the opening of the London Festival of Photography.  The international event this year focusses on King's Cross, Bloomsbury, Euston and Fitzrovia.

In its inaugural year, the event was the London Street Photography Festival, which reinforces how fundamental a shift has occurred in the power relations of photographer and photographed.  Over 30,000 visitors attended 14 exhibitions and 30 events and workshops.  Building on that success, this year the event has expanded to include conceptual photographic projects, documentary and photojournalism.  Events and exhibitions this year will take place in venues across the capital, with big name hosts such as the Museum of London, the British Museum, the V&A, the British Library and Tate Modern hobnobbing alongside smaller name galleries and public venues.

The theme of this year's festival is about navigating the line between what may be considered 'public' and 'private'.  An open-call submission prize will be awarded, alongside talks and seminars with some of the great and good of the photographic world, exhibition tours and guided 'photo-walks' around our great city.  And a photogenic city it is: Rich, diverse and colourful.  It might not be the city that never sleeps, but it is the city that keeps on giving.  Instantly evocative, the London Festival of Photography is its celebration.  It seems as though there has never been a better time to be proud of the city's heritage and it's future, but a walk through what the festival has to offer is a reminder that we're only temporary custodians of this wonderful city of ours.

London Festival of Photography is at various venues throughout June.

header image copyright Grant Smith.

For those of you who have been following news from the Croisette, the Cannes Film Festival is over for another year. Michael Haneke takes home his second Palme D'Or in three years, for successive films (and in the process becoming only the seventh director to achieve the act). I wait all year for the weather to turn good, and then as soon as it does it becomes film season and I just want to spend it all inside and air conditioned cinema. Thankfully, there are films to watch.

Moonrise Kingdom is the latest film by grown-up hipster Wes Anderson. Beautifully designed and shot through with a lo-fi and understated ambition, the film opens with a long pan over a cross section of a suburban New England house from the 1960s. Mindful of a similar (grandiose and memorable shot) from Anderson's film The Life Aquatic with Steve Zissou, the opening gives us the opportunity to become acquainted with the home lives of Sam and Suzy, a couple of twelve year olds who arrange to meet in the wilderness at dawn. As they begin their liaison, they are chased through Moonrise Kingdom by the usual eclectic cast of characters assembled by Anderson, and which includes here Bill Murray (as standard), and also Edward Norton, Frances McDormand, Bruce Willis and Tilda Swinton.

Despite being in such a stellar company (and in an expansion of Anderson's habitual cast), the film belongs to our sweet-hearted leads. It's easy to be cynical about a Wes Anderson film either in anticipation of or in retrospect. It seems like a fluid motion from one film to the next, little sense of progression, development or something different. Watching, though, a Wes Anderson film you realise that as a director he is no one-trick pony. His films, and Moonrise Kingdom is no different, are graceful, clever, funny and innocent. Truly, it's a joy.

Moonrise Kingdom is on general release.