John Akomfrah is one of the UK’s most fervent artists.  His films, videos and installations are intensely thought through and beautiful to look at.  His works are lushly rendered on screen with an intimacy that emulates works of classical antiquity in a very modern way.  His newest piece, Hauntologies is currently on display at Carroll/Fletcher, only a stone’s throw from Because HQ.

Hauntologies is a compelling exploration of memory and disappearance.  His first show at the gallery, this exhibition comprises four new works – of video, photography and installation – as well as a new presentation of The Call of Mist, a video essay made for the BBC in 1998.

Running parallel to the exhibition is a full programme of events – relatively rare to see at a commercial gallery.  To accompany Akomfrah’s work Psyche, the artist has selected five films that directly influenced the making of the installation.  These films, including Winstanley and The Passion of Joan of Arc, run weekly.  During the new Fitzrovia Lates season, the gallery will also be screening Akomfrah’s film The Genome Chronicles, made on the occasion of the eponymous exhibition of work by the late Donald Rodney at inIVA in 2009.

John Akomfrah: Hauntologies is at Carroll/Fletcher until 08 November.

This is the best thing about festivals: the end. Sure, attending a screening is a great way to feel like you're part of an arts elite, privvy to the great, good and often less-so before the masses. But the end is also an opportunity to look forward and pay attention to culture when it arrives, fully dressed up in all its marketing hype glitz and glamour. A chance to tell your friends that you heard about this film ages ago, and it got great write-ups in the trade presses.

The BFI London Festival closed with a bang last night and an awards ceremony the likes of which the organisation has never seen before. The big winner of the night was Jacques Audiard's Rust & Bone, starring Marion Cotillard and a barnstormingly audacious performance from newcomer Matias Schoenaerts. On release this month, it should be near the top of your list.

But what more can your daily Culture section recommend? An Exit Through the Gift Shop-style documentary about Russian guerrilla art terrorists Voina is a stand-out. The outrageously fanatic Room 237 is possibly one of the most entertaining documentaries you'll see this year. The best drama this year comes from Eastern Europe. Maja Milos's controversial Clip, nominated for the best first feature award, is a vision of adolescent rebellion not common to your local multiplex. Eat Sleep Die is heartwarming melodrama of a Balkan young adult trying to make it in Sweden.

But the festival (particulary this year) ultimately belongs to the big-hitters. Ben Affleck's Argo (which no doubt you've seen peppered around the papers) is the best blockbuster of the year. An unbelievable story involving deception, a fake Hollywood film and six spies behind enemy lines. And finally, for all you traditionalists, a gorgeous - nay, sumptuous take on that most grand of English novels, Great Expectations. Expect lavish locations and England's finest in display. A cracking way to start the film season.

Gerry Fox is one of the most decorated filmmakers working in the UK today.  His film portraits of artists, including Gilbert & George, Claes Oldenburg, Bill Viola, Gerhard Richter and Robert Frank, have been broadcast on television internationally and in major festivals across the world, at venues such as the Venice Biennale.  It is with great pleasure that Eleven, one of Belgravia’s most respected fine art galleries, present an exhibition of work by the internationally renowned artist.

Nudes Moving is a technologists dream.  Filmed in the most pristine high definition, these pieces take as their point of departure works by artists including Egon Schiele and Auguste Rodin.  Recreating these works with contemporary models, these moving images take on a life of their own; the viewer comes to realise that they are watching mesmerisingly slow-moving portraits.

Some of these works have been digitally manipulated to echo the soft and deliberate brush strokes of the original pieces.  Clothing conceals and reveals in equal measure, narratives unfold and our subjects become knowingly exposed.  The result is delightfully sensuous, and an exhibition of work that you are unlikely to have seen previously, or likely to see soon again.

Gerry Fox: Nudes Moving is at Eleven until 10 November

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