Your movie-going options are rather limited this week, unless you fancy taking a crack at The Da Vinci Code. The majority of distributors have fought shy of competing directly against such a behemoth. So all credit to those behind One Day in Europe, which cashes in on the coincidence of Arsenal's trip to Paris to launch a series of cautionary tales about the impossibility of multi-culturalism in a continent obsessed with football.

The disunited states of Europe are exposed in all their insular glory in this sharp episodic satire that takes place on the day that Galatasaray meets Deportivo La Corua in the Champions League final in Moscow. The unifying theme is the need to report a robbery in a country where the victim doesn't speak the lingo. But while English traveller Megan Gay is helped by Luidmila Tsvetkova's deceptively influential Russian and duplicitous German Florian Lukas is unknowingly aided by Turkish cabby Erdal Yildiz, Hungarian pilgrim Pter Scherer is gyped by Spanish cop Miguel de Lira, and French buskers Rachida Brakni and Boris Arquier quit while they're behind in Berlin. Director Hannes Sthr juggles his stereotypes, prejudices, language barriers and postcard vistas with ease and shrewdly resists making his points too emphatically.

If this has whetted your appetite for the World Cup, then why not sample some of the footie features currently showing at the Curzon Soho in London's West End? Some of the titles will be familiar. Khyentse Norbu's Bhutanese Buddhist charmer, The Cup (1999), David Serrano's mid-life comedy Football Days, and Soenke Wortmann's memoir of the 1954 Mundial, The Miracle of Bern (both 2003), have all been released at cinemas and on DVD. And Thorold Dickenson's wry whodunit, The Arsenal Stadium Mystery (1939) which stars former Oxford resident Anthony Bushell provides a fitting farewell to Highbury.

But there are also some enticing rarities on view, most notably Johan Kramer's The Other Final, which charts the build-up to a match between FIFA's two lowest ranked teams (202 and 203), Montserrat and Bhutan, that was played as a forerunner to the 2002 World Cup. Capturing the passion for football in its humblest outposts, this is a gem that's not to be missed.

On a more serious note, Carmen Luz Parot's Estadio Nacional (2001) chronicles the history of the sports ground that became Chile's largest concentration camp between September 11 and November 7, 1973, as Augusto Pinochet imposed his tyranny upon the nation. Based on interviews with some 30 survivors and using chilling archive footage, this is a stark reminder that, sometimes, football is only a game. However, when it is played in the right spirit, it's very much a beautiful game, as the documentary, Ginga: The Soul of Brazilian Football, demonstrates. Produced by Fernando Mereilles (who directed City of God and The Constant Gardener), this is a timely insight into the approach to futbol that will make the holders the firm favourites in Germany.

If football isn't your thing, you might be tempted by Tate Modern's first-ever arts festival, which marks the opening of the gallery's new displays. Each day of the forthcoming Bank Holiday weekend is dedicated to a particular movement and the moving image plays a key part. Walter Ruttmann's majestic masterpiece Berlin: Symphony of a Great City (1927) illuminates Futurist Friday, while Surrealist Saturday sees a rare screening of Hans Richter's Dadaist curio Dreams that Money Can Buy (1946), which boasted Man Ray, Max Ernst and Marcel Duchamp among its collaborators. Finally, on Abstract Sunday, Courtney Pine premieres his score for Kenneth MacPherson's recently restored Paul Robeson vehicle, Borderline (1930).