Lian comes from China, to sell pirate DVDs on the streets of London. Her only reminder of home is a precious memento, that she keeps hidden from her flatmates. But when she tries to view it, it becomes mixed-up in the merchandise; and her loss becomes London's gain.
Max is dead. Who's to blame? A dark tale of suicide, revenge and - Bluetooth.
Akeem is a troubled teenager grappling with the loss of his best friend Max through suicide. It is an unlikely assortment of bullies led by the narcissistic, abhorrent and cruel Kino that Akeem blames for the death, having drawn Max into a game and subjected him to a sustained torment of bullying recorded on mobile phone.
Even after the death, Kino continues in his attempts to manipulate Akeem, trying to pin the blame on him. Haunted by Max's death and constantly reminded of his involvement Akeem, the victim and willing participant in Kino's game to humiliate Max descends into madness and his grip on reality begins to slip.
He sets out to expunge the memory of his friend's painful past and embarks on a crusade to bring down the gang and destroy their reign of terror. Now out of control vigilante-style and equipped with a mobile phone he uses for surveillance of the gang, he becomes less engaged with personal interactions and more fixated with documenting them with violent consequences...
In 1960, shy and stuttering Teddy Boy Johnny Taylor wanted one thing – to dance with Sally, the girl of his dreams. But Johnny’s dream turns into a nightmare. Beaten by Sally’s boyfriend Creeper he finds himself at the centre of a murder on the dance floor. Panicking, Johnny flees the scene only for his car to veer into the river, sending him to a watery grave.
40 years later, a pirate radio station playing the sounds of the fifties awakens Johnny from the dead. Driving through the night in his spectral motorcar, he is a monster in search of lost emotions. The modern world looks like it did in the fifties through his eyes and memory sees him return home to his Ma. Despite Ma’s best efforts, all Johnny does is sleep - except between midnight and 2am when Radio Rockabilly is on air. Re-animated by the music, he drives the streets searching for Sally and looking to avenge his death. Following a series of strange murders, one-armed Memphis cop, Lt. Annie McKenzie is drafted in to investigate. She soon realises that even though they said Rock n Roll was dead, Johnny’s back - alive and killing.
Sam, a chubby adolescent boy with low self-esteem is forced to confront the greatest challenge of his life - using the grimy school toilets. Overcoming his fear, he lands in a more compromising situation after getting locked in the toilet with the cleaner - an attractive older woman. Feeling awkward and embarrassed, Sam accidently gets trapped into a steamy conversation with her, oblivious that she is actually on her mobile phone talking to her boyfriend. Confused and uncomfortable, he bolts out of the cubicle only to realise, to further embarrassment, his mistake.
Luke fancies Mandy, Mandy fancies Harry, Harry fancies Helen and Helen fancies anyone. Mandy fancies (unconsciously, of course). This is a film about friendships and relationships and how they keep coming in the way of each other.
A man and a woman meet in a quiet English seaside town out of season. We learn that they have met online, and that this is their first meeting. But all is not as it seems, especially once they have got back to the hotel room booked for the occasion, and the true purpose of their liaison starts to become apparent.
An experimental film essay investigating the cultural importance of cinema. In an age dominated by the moving image what would it feel like to never see an image of the place that you came from?
The Palestinian Film Archive contained over 100 films showing the daily life and struggle of the Palestinian people. It was lost in the Israeli siege of Beirut in 1982. Here interviewees describe from memory key moments from the history of Palestinian cinema. These scenes are drawn and animated. Where film survives, the artist's impressions are corroborated. This is a film about reconstruction and the idea that cinema is an expression of cultural identity - that cinema fuels memory.
Smoke is used as a device to exploit extreme contrasts of light and dark. This theme of contrast echoes throughout the work as notions of presence and absence oscillate, and redundant, toxic waste is briefly transformed into a magnificent celebration of 'being' before gently dissipating into infinite time and space.
Adam finds a mysterious roll of film. Its pictures show him committing terrible acts.
Are they evidence, or fakes? As he searches for answers, he becomes unsure of the truth.
Francis is an account of the creation of a 9-year-old 'defective' animated character. As the draughtsman’s hand goes to work and Francis attains animated consciousness, his behaviour is observed and assessed by a child psychologist. The boy’s responses – initially slow and apparently flawed – develop in unusual comic directions as the examination progresses.
As his vocalisations begin to address the nature of his animated world and the psychologist continues to try and interpret his actions, it appears that Francis may ‘break out’ once and for all and become a ‘real’ animated character. Francis playfully addresses notions of construction and the role that language plays in interpreting, classifying and creating certain types. In an animated world populated by impressionable idiot figures, mischief-makers and oddballs with strange vocal mannerisms, Francis puts the cute but simple cartoon character into therapy for a case study of 'animated behaviour'.
When trainee doctor Catherine Thomas administers an untested cocktail of drugs to a critical coma victim, the patient is jolted into a startling 'out-of-body' state, enabling him to take revenge on the careless medics who left him in this condition. As the comatose patient's murderous supernatural powers increase, Catherine is running out of time and allies. Worse still, she has become the latest target of his unshakeable thirst for vengeance.
