In this warm documentary, three siblings clear out their enormously grand childhood home in Oxfordshire where among the happy memories are those of cruelty

This warm, gentle documentary from Suzanne Raes is about a family – and a family home – that might have interested Nancy Mitford or Wes Anderson. Maybe it takes a non-British film-maker to appreciate such intense and unfashionable Englishness; not eccentric exactly, but wayward and romantic. It is about a trio of middle-aged siblings’ from the Impey family who take on the overpoweringly sad duty of clearing out their enormously grand childhood home in Oxfordshire. The huge medieval manor house Cumnor Place, with its dozens of chimneys, mysterious rooms and staircases was bought by their late mother, the neuroscientist Jane Impey (née Mellanby), with the proceeds of the sale in 1966 of a postcard-sized but hugely valuable painting, Rogier van der Weyden’s Saint George and the Dragon .

Impey died in 2021 and her husband, author and antiquarian Oliver Impey, died in 2005; this left their grownup children with the task of coming to terms with the memory of growing up in what is clearly an extraordinary place. It is magical and chaotic, haunted by these two dominating personalities, full of books, papers, paintings (who knows if there is another one that might be as valuable as the one Mrs Impey sold to buy the place?), huge grounds with a swimming pool, bizarre objects and items everywhere which speak of Oliver Impey’s preoccupation with the image of the dragon.

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Tate Modern, London
The Korean conceptualist invites us into all the spaces he’s lived in, re-created full-size in paper, polyester and fabric. It’s a bit like a vast portrait made in Homebase

Home is where the art is for Do Ho Suh. The Korean conceptualist has spent his career ruminating on and exploring the places we live in, creating ghostly, beautiful facsimiles of the houses and apartments he’s called home.

And now those fragile, wispy, delicate buildings have been transported and rebuilt in the middle of Tate Modern. A traditional Korean hanok house looms over you as you enter. It’s not made of bricks and mortar or wood and screws, but paper, carefully wrapped around the artist’s childhood home and rubbed with graphite, exposing the texture of the material beneath. The paper is yellowed and mildewed from months of being left exposed to the elements, but it has survived as a sort of memorial: to childhood, architecture, migration, the past.

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Museums in Belfast, Cardiff, Perth, Warwickshire and County Durham compete for £120,000 Art Fund Museum of the Year award

Five UK museums, all “alive with ideas and energy”, in Belfast, Cardiff, Perth, Warwickshire and County Durham are to compete for the world’s largest prize given to a museum.

The Art Fund Museum of the Year prize offers the winner a gamechanging prize of £120,000, with £15,000 going to each of the other finalists.

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Belfast rappers post apology to families of David Amess and Jo Cox after footage emerges of apparent call to kill MPs

Kneecap have apologised to the families of murdered MPs David Amess and Jo Cox after footage emerged in which the Irish-language rappers purportedly call for politicians to be killed.

Criticism of the group has been mounting – including from Downing Street and the Conservative leader of the opposition, Kemi Badenoch – since a video emerged from a November 2023 gig appearing to show one person from the group saying: “The only good Tory is a dead Tory. Kill your local MP.”

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The Patrick Melrose author brings his trademark dark wit and flinty compassion to this wide-ranging sequel

Edward St Aubyn’s previous novel, 2021’s Double Blind , was something of a challenge even for his devotees. Leaving aside the usual gripe that he is never quite as compelling without the shield of his authorial alter ego Patrick Melrose, the obsessive nature of the book’s inquiry into bioethics, narcosis, psychotherapy, oncology, venture capitalism and inheritance made too heady a cocktail to be more than sipped, a few pages at a time. I struggled with it until the very last scene, a charity bash where a schizophrenic young man takes his first terrified steps in employment as a waiter and happens upon a woman who, unknown to both, is intimately related to him. Their chance encounter was intensely moving and tautly suspenseful – you felt an immediate longing to know what would befall them.

That longing is now answered in Parallel Lines, which picks up the narrative five years later and reintroduces its cast of interestingly troubled characters. Francis, a botanist pursuing a rewilding project on a Sussex country estate, has now joined an NGO in Ecuador trying to save the Amazonian rainforest. He’s also raising a son with his wife, Olivia, a writer producing a radio series on natural disasters and wondering whether Francis can resist the amorous lures of his philanthropist boss. Olivia’s best friend, Lucy, is in the throes of treatment for a brain tumour, the traumatic reverberations from which have forced her boyfriend – wild man plutocrat and drug fiend Hunter – to seek refuge with “compassion burnout” at an Italian monastery, where he’s hosted by a gentle abbot, Guido.

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A poetic new exhibition of dreamlike black and white images captures the country’s contemplative beauty, from lonely Torii gates to sprawling temple trees

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Sweet documentary about Sean DeLear, of LA punk band Glue, who never landed a major record deal but was famous among celebrities

That’s Sean DeLear, pronounced like “chandelier”, born Anthony Robertson in 1964. You probably haven’t heard of him: DeLear was the lead singer of a band called Glue on the underground post-punk scene in Los Angeles in the 1980s and 90s. On stage, he performed in drag, singing punk songs dressed like a 1960s go-do dancer in cute little dresses. The band never landed a major record deal, and DeLear died from cancer in 2017 . This sweet, scrappy documentary has been lovingly put together by his friend Markus Zizenbacher.

It’s not the first posthumous attempt at recognition for DeLear. In 2023, his teenage diary, written in 1979, was published under the title I Could Not Believe It. Extracts of this queer black memoir are read here on the voiceover – and they are glorious. Even aged 14 years old, living with his Christian parents in a conservative suburb of Los Angeles, DeLear was proudly, joyfully gay, though this was before the terror of Aids. The interviews in the film with his mum and brother, an evangelical pastor, feel a little bit thin; his family accepted his sexuality, they say, but not much else.

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The broadcaster gets the Who Do You Think You Are? treatment. Plus: Joe Lycett’s big Brummie adventure continues. Here’s what to watch this evening

9pm, BBC One
Broadcaster Mishal Husain has written a book about her grandparents’ experience of the end of the British empire in India and the formation of Pakistan – and now she takes an utterly absorbing journey through her family history. She starts in India, where an ancestor was personal physician to a maharaja. Hollie Richardson

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The US playwright and anglophile behind much-revived comedies has a flair for crime and is following a crowd-pleasing Murder on the Orient Express with Death on the Nile

If you ever face a quiz question about the most performed theatre writers in the world, likely to have a play on somewhere every day, William Shakespeare, Andrew Lloyd Webber and Agatha Christie are all reliable answers but a fourth may surprise you: Ken Ludwig. He also has intriguing connections with the other three.

The popularity that made the American wealthy enough to have donated £1m to the Shakespeare Birthplace Trust is partly due – apart from his own much-revived comedies, Lend Me a Tenor (1986) and Moon Over Buffalo (1995) – to Christie. Ludwig’s 2017 adaptation of Murder on the Orient Express has had hundreds of productions and is currently touring the UK. We meet when he is in London for a workshop on a second Hercule Poirot adaptation, Death on the Nile, which premieres in September.

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