A British-Mexican comedy, the first one of its kind in terms of representation, about identity, family dynamics, and the relentless pressure to “have it all together” by your 30s. The film explores the universal themes of self-worth, envy, and societal expectations, while asking a core question: What makes someone a failure in the eyes of themselves and others?
At its heart, this is the story of Camila, a 30-year-old British-Mexican comic book creator whose life is spiralling out of control. As she faces a job loss, mounting financial pressure, and the revelation that her 51-year-old mother is unexpectedly pregnant, Camila's desperation grows. She’s torn between familial obligations and her own dreams of independence, symbolised by a flat she can no longer afford. Her personal journey is a chaotic and sometimes humorous collision of cultural expectations, family dysfunction, and her own insecurities.
A gifted but troubled programmer, on the verge of creating breakthrough technology to restore lost memories, must race to save his Alzheimer's-afflicted father and repair a problematic home life before he loses everything at the hands of his ruthless CEO.
Santo is a respected religious clockmaker and moneylender in his village. He exploits families in debt by using charm and kindness. When they cannot repay him, he persuades them to send their underage daughters to work as maids to pay off the debt. Ultimately, he sexually enslaves them and throws them out on the street when they become pregnant. His latest victim is Cira, an 11-year-old blackberry picker whose mother has pawned their home and land. After Santo's death, Maria Luisa, one of his victims, with the help of Fernando, his childhood friend and lawyer, fights for justice. After a long court battle, justice has finally been served, but not for everyone.
Based on a real story.
Scab returns home from work - having scabbed a bitter industrial strike. Whilst arguing with his wife Lyn, tending to his newborn baby, and covering the evidence of his body deterioration, Brawd, his union boss brother arrives at their home.
Allie Clarke is a twenty-something office clerk who is failing an interview for a Team Leader role. Outside of work, he decides to start a cricket team to keep his friends out of trouble over the summer. He recruits colleagues and boys from football who he doesn’t necessarily get on with. This all takes place against the backdrop of parades and protests and what seems like an inability for the older members of the various communities to move on from the past.
Allie is also being terrorised by a loose cannon detective called Spesh who will go to any lengths to save his own back including illegal interrogation techniques. The team struggle from one game to the next, arguing with each other but steadily improving. The season culminates with a game against Spesh and the police. Allie defeats a different sort of interrogation and exposes Spesh for the coward he is. Allie is interviewed again for the Team Leader role and this time gets the job drawing on the experience he has gained since the last interview.
When Jamal buys a new car, it’s an instant hit of adrenaline to his inner circle of friends. As we see glimpses into how the car houses lifelong memories, we also witness the group of boys grow distant over time. As life gets in the way and everyone gets older, Jamal's loneliness starts to get the better of him.
Marianne and her daughter, Leda, navigate the love, jealousy and hatred within their fragile bond. As they protect a white rabbit and her newborns, the outside world invades their shelter, unravelling their paradise and revealing the primal instincts lurking beneath.
George Best was one of the greatest footballers who ever lived. But he was so much more than that. Although the football pitch was his arena, Best was essentially a pop star - young, stylish, strikingly beautiful, possessed of a creative confidence that bordered on arrogance, and worshipped by young men and women alike. Like The Beatles and The Rolling Stones.
This film is simultaneously a celebration of a genius and an exploration of the demons that brought him down. We all know how these biopics traditionally work: in this case a talented but innocent young man from the backstreets of a divided but still pre-Troubles Belfast, becomes a star. But his time at the top is agonizingly short: a family history of alcoholism doesn’t help, in those pre-drug Sixties everyone wanted to buy him a drink, and before he was thirty, he was a washed up drunk.
But we’re taking the Benjamin Button approach here. No-one wants to go out on a downer, with the end card telling us how many hundreds of thousands lined the streets of his home town to bid him farewell, along with the millions watching on live television.
To cope with their gruesome job, two content moderators start having sex at work. But they must battle with their new-found addiction to trauma bonding, lest it consume them.
Delving into themes of solitude, memory, and displacement, the film is crafted through a poetic and non-linear narrative. Set between imagined geographies, it speaks a cinematic language that transcends borders.
An Adaptation of Norse Mythology, the film speaks of the epic from an Indian POV.
