A teenager bonds awkwardly with her cousin as they take the bus from a rural community to New York so that she can have a termination

The four words in this title are the four possible replies to bureaucratic tick-box questions about the frequency of your various sexual experiences. A young woman here must answer them, before she is allowed to have an abortion. However rigid and blandly routine it seems, the four-part answer grid is cleverly designed to get information about vulnerability: it is so easy instinctively and evasively to deny a difficult question structured as a yes/no, but much harder to check the “never” box, when “rarely”, “sometimes” and “always” are coolly offered as equivalently non-judgmental options.

The lead character in Eliza Hittman’s tough, realist drama is confronted with this central, four-part inquisition about her life in one brilliantly controlled, enigmatic scene. Theoretically, it is just a bit of form-filling that doesn’t appear to promise any real revelation to the audience. Yet it does just that, delivering a penny-drop moment of realisation. Or perhaps it’s more of an ambiguous hint and all the more disquieting for that.

Related: Sleazy bosses, exploited barmaids: US cinema finally discovers the left behinds

Elizabeth Sankey’s engaging documentary reclaims the genre from snooty cinephiles – and proudly pronounces When Harry Met Sally a masterpiece

With affection and brio, Elizabeth Sankey reclaims the genre of romantic comedy in this watchable documentary; that is, she reclaims it from the gendered snobbery of white, male, middle-aged reviewers who fall over themselves to praise horror movies or thrillers or superhero films but turn their noses up at romcom. (If La La Land had been marketed as a romcom, wonders Sankey, would it have got the same Oscars and saucer-eyed critical praise?)

Now, I’m putting my hands up here, although I still can’t handle Nancy Meyers’ The Holiday (2006), and I still worry that romcom tends to be all rom and no com, a conservative genre that often dislikes the subversion of comedy. I absolutely agreed with Sankey’s masterpiece rating for When Harry Met Sally … (1989) – what person of taste and judgment wouldn’t? – and I enjoyed her praise for While You Were Sleeping (1995), which she discreetly juxtaposes with the comparably themed The Big Sick (2017). But could it be that there is a kind of dual response going on here – straightforward reverence for a small number of romcom greats and a kind of guilty-pleasure celebration for the stratum of standard-issue romcom product below that, which maybe isn’t all that great but nonetheless foregrounds women’s experiences in the way no other genre does?

(Atlantic)
The singer whose personal life has become a public spectacle drowns out the noise with these bold yet subtle R&B tracks

By anyone’s standards, Kehlani Parrish has experienced a pretty tumultuous rise to fame. She pulled off the not-inconsiderable feat of emerging from a TV talent show with her musical credibility intact. While still a teenager, her cover band PopLyfe reached the final of America’s Got Talent – on YouTube you can still see her belting out We Will Rock You for the edification of Piers Morgan – but when they failed to win, she quit the band, declined an offer from the show’s host Nick Cannon to join a rap group he was assembling and rescued herself from a life of penury by releasing her own mixtape.

In the UK and Ireland, Samaritans can be contacted on 116 123 or email jo@samaritans.org or jo@samaritans.ie. In the US, the National Suicide Prevention Lifeline is 1-800-273-8255. In Australia, the crisis support service Lifeline is 13 11 14. Other international helplines can be found at www.befrienders.org.

Grigory Sokolov
(Deutsche Grammophon, 2 CDs, 1 DVD)
He last gave a concert in the UK in 2007, so any opportunity to hear one of the world’s finest pianists is welcome, though this is uneven

For over a decade now, the British government’s stringent visa requirements for visiting musicians from outside the EU have ensured that Grigory Sokolov has not played in Britain. The Russian gave his last recitals here in 2007, and as he no longer performs concertos, and shuns studio recordings, opportunities to hear a pianist who many regard as one of the finest alive today get fewer by the year. This compilation at least brings us more or less up to date, with performances taken from recitals that Sokolov gave in 2019 in Zaragoza, Wuppertal and in the Tyrolean village of Rabbi, where the great Italian pianist Arturo Benedetti Michelangeli had a house, and where a festival is now held in his memory.

Vinnie and the gang decide to rob a circus, as Joseph Gilgun’s hit comedy – part-Shameless, part-Ocean’s Eleven – returns for a second run

At first glance, Brassic (Sky One) looks as if it might have been the first quarantine comedy. The second series begins with Vinnie (Joseph Gilgun) skulking around the fictional Lancashire town of Hawley in full DIY hazmat get-up, with his hood up over a hat, a scarf pulled over his face, and sunglasses, despite the weather being a near-permanent state of grey drizzle. It even goes a bit Tiger King, when a robbery takes an unexpected feline turn.

But Brassic is only accidentally of the moment: there’s far too much non-social-distancing going on, for a start. It was filmed last year, while the first series was airing, and it became Sky’s biggest original comedy in years. That’s no surprise. It had an easy appeal and a raucous sense of humour, with real heart behind the madcap antics.

(New Deal)
With his fourth solo album the acclaimed producer faces down the confusion of modern life with intoxicating calm

Blake Mills has picked up Grammy nominations for his production work on Laura Marling’s Semper Femina, John Legend’s Darkness and Light and Perfume Genius’s No Shape. However, the fourth solo album by the 33-year old Californian former touring guitarist should turn the spotlight towards his own work. Mutable Set is intended as a “soundtrack to the emotional dissonance of modern life”. Themes range from precious people and experiences to disappointment and isolation, though this isn’t conventional singer-songwriter fare.

(Air Texture)
Shuffling Mestizo melodies meet eerie techno in this stellar compilation taken from Ecuador’s pulsating club scene

While most would name Colombia as the home of South America’s forward-thinking club scene, neighbouring Ecuador has quietly been carving out its own dancefloor identity in recent years. The country has produced breakout talents such as DJ Nicola Cruz and home-grown labels like ZZK and Wonderwheel Recordings, operating under the social restrictions of a largely Catholic state and in the midst of devastating austerity measures. Most of its key players reside in Quito, and bring together a community at the capital’s inclusive nights, including Cruz’s La Sagraria.

Often marked by downtempo, undulating house rhythms and samples of Andean pan flutes and instruments such as the lute-like charango, their output is organic-sounding. Yet Place: Ecuador, a new charity compilation, showcases a grittier and more kinetic side to the scene. It’s the fourth release in New York label Air Texture’s location-specific charity series (previous editions have covered Georgia, Colombia and the Netherlands), benefiting the indigenous Waorani people’s legal battles against the Ecuadorian government’s sale of their land for mineral rights.