Three highly acclaimed directors join together to direct three interwoven stories that take place during a journey from Central Europe to Rome. The charcters connect through casual encounters and set forth a story of love, chance and sacrifice.
One older businessman finds solace and a new insight into life when he is forced to wait at the train station due to bad weather. A young man is reminded of life's obligations but is also introduced to love. And three Scottish youths on their way to the football match of their dreams are forced to open their eyes and see the bigger picture.
One single train journey sparks many changes for many people. This is a film about priviledge and exclusion, and the reality of the value of just one 'Ticket'.
In the great tradition of child fantasy stories such as The Wizard of Oz and Alice in Wonderland , Terry Gilliam takes us on a wild adventure with his adaptation of Mitch Cullin's cult classic novel.
Welcome to the world of Jeliza-Rose, the young heroine and narrator of Tideland.
What has brought Jeliza-Rose from Los Angeles to a rural Texan farmhouse? And why is her former rockabilly guitarist father not talking to her anymore? And who is making all that noise in the attic?
Jeliza-Rose drifts from the harsh reality of her childhood and escapes into the fantasies of her own active imagination. This is a fantasy world to rival all others; here fireflies have names, bog-men awaken at dusk, monster sharks swim down railroad tracks, and disembodied Barbie heads share in her adventures.
Tideland is as optimistic as it is surreal, as humourous as it is suspenseful - a celebration of the power of a child's imagination.
Tina is getting ready for a blind date. Her friend Lily is waiting for the guy in the designated bar, to tell Tina whether he is worth coming for. Tina ends up being driven to the date by her ex, Leo. As Leo tries to get back together and they fight, Lily fancies the date herself and pretends to be Tina. In the end they all find each other at one table. But who will leave with whom?
They have been hangouts for bohemians, bikers and office boys, but the classic London cafe - steamy, formica-clad, with wooden banquettes and booths - is fast disappearing as rents rise and tastes change. These three films follow four cafes on the verge of closure: They are worlds of their own, a form of social club for the regulars who have been going there for twenty years, and an imtegral part of London culture that may not be around much longer.
A quiet lament of an illegal alien's private grief over a shattered dream. The film intends to personify one of the many familiar yet anonymous Chinese faces one comes across when passing through London's China Town, and his humble dreams and desires - things which are taken for granted as basic necessities among people from the West.
Award-winning director and cinematographer, Thomas Riedelsheimer (Rivers and Tides, Andy Goldsworthy working with Time) takes us on an journey through a universe of sound with percussionist Evelyn Glennie. They map a world of the senses – images and sounds. Hearing images, seeing sound. With Evelyn, we experience sound as palpable and rhythm as the basis of everything that is. Rhythm is movement, flow, change, renewal - and repetition. Everything oscillates and vibrates - from the bridge of steel and concrete to the energy shells around an atom. We recognise and experience our world through oscillations, through rhythms - even colours oscillate at different frequencies. Everything vibrates, everything 'speaks' - a universe of sound. Renowned percussionist Evelyn Glennie, who lost her hearing aged eight years old, lives in this universe in a way that almost no-one else does. Together with her, this film dives into the world of sound and rhythms - into the world of our origins. At the top of her profession with many works written especially for her, Evelyn now improvises for this film with Fred Frith, master of the avant-garde. The result of their collaboration forms the backbone of the film as Evelyn travels the world, playing with diverse musicians and sending back postcards from her world of sound.
Flipping back and forth between the 18th century and the hapless efforts of the 21st century filmakers, Tristram Shandy is the making of a movie adapted from the notoriously unfilmable English literature masterpiece, The Life and Opinons of Tristram Shandy, Gentleman, written by Laurence Sterne.
The story begins with Tristram Shandy (Steve Coogan) narrating his life story as he sees it. Crammed with literary jokes and dark humour, Shandy's warped childhood tales are constantly interrupted by his family and household, inadvertently revealing far more about himself than any conventional autobiography.
At the dramatic moment of Tristram's birth, the 1st Assistant Director calls cut, marking the end of a filming day on the set of Tristram Shandy. We then see Steve Coogan, the other actors and crew through the course of a chaotic evening on set. Steve Coogan's wife arrives with their six month old baby, a journalist is chasing him about a scandalous story, his agent has arrived with a load of Hollywood scripts and the film financiers are threatening to pull the plug.
A clever, post-modern take on the construction of a film, from an intricate, hilariously complex autobiographical novel.
All is not right underground. The tube is in chaos yet no one knows why. What's more the mice are disappearing. Who is the dark figure taking a fervent interest in both? Meanwhile deep below something is trembling.
Shipwrecked on the coast of Illyria, Viola finds herself in the midst of a fairytale. Shot entirely on location in the Greek islands, this jazz-age take on Shakespeare is a laugh-out-loud portrayal of romance at its most chaotic. It follows Viola’s strange and often hilarious encounters with the inhabitants of Illyria, and her struggle to survive in an unknown and bewildering country. An unrepentant dreamer, she finds happiness by retreating into her imagination – only to discover that, in Illyria, fantasy can turn into reality overnight. But if everyone’s dreams can change the world, then you’d better hope that no-one starts dreaming about you – especially not Illyria’s love-struck Countess, who’s hell-bent on getting her happy ending - A tribute to imagination, friendship, and imaginary friends, Twelfth Night’s laughter is tempered with a touch of melancholy, and another of wonder. ‘Just for once, you should believe the hype’ (BBC Radio). Dream on.
Christmas morning. The Tompkinson family’s peace is shattered by the arrival of narrow-minded Uncle Douglas. Michael and Sarah Tompkinson’s only solace is that Douglas’s wife Pat has proved to be an invaluable shoulder to cry on for their father Barry, and they appear to be growing closer by the day.
The sins of the father. Warren has a problem. He avoids school, other pupils avoid him and adults only ever shout. There are no easy answers. Under The Bridge uses gritty realism to take a new angle on the well-worn theme of school buildings.
