Projects with status: Complete

Synopsis

1750, Bedlam The worst place on Earth. Jack Slack, a bare knuckle carnival boxer, consumed with rage, fights his way in to the pits of hell to rescue his sister, Sarah from a lifetime of incarceration. Soon trapped and imprisoned himself, his rage and skill at fighting are noticed and he is singled out by the masters of the hospital for a special course of treatment. Meanwhile, Jack still has a plan, if he can only keep the madness at bay.

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GAZA YEAR ZERO tells the story of 13 year old Aboud and his family as they struggle to survive in Gaza during the war.

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A Bangladeshi taxi driver in Glasgow spends one long night driving others to the airport while struggling to bring his own family to safety.

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Filmed over seven years in England and the United States, Dance of Identity is an intimate, powerful portrait of love, resilience, and family against the backdrop of a global culture war. The documentary follows Sophie, a British trans woman and amateur ballet dancer, and her partner Sandi, as they build a life together. From Sophie’s triumphant public ballet performances to the couple’s fairytale wedding and the high-stakes birth of their child, their personal joys constantly clash with a shifting political landscape. As politicians and media headlines weaponise trans existence, the couple faces rising hostility, social media attacks, and legal threats to Sophie’s fundamental rights. Yet, through nine years of waiting for gender-affirming healthcare and navigating bureaucratic hurdles, theirs is a story of defiant hope. Dance of Identity reveals the profound impact of political rhetoric on the private sanctuary of a family, ultimately celebrating the triumph of love over systemic adversity.

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A reclusive university student, finds solace through fabricating his life to an ASMR camgirl - but when a fire alarm exposes his lies, he's forced to confront the isolating enclosure he's built around himself - and take his first steps back into the world.

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Imperial Illusions explores how Britain crafted a myth of benevolent empire to justify domination and exploitation, and how, as the empire collapsed, that myth was replaced with a heroic narrative of victory over fascism. The film investigates what happens when a nation buries the violence of its past, and how that denial continues to shape political, social, and cultural realities today. Through the histories of Kenya, India, and Northern Ireland, the documentary uncovers the lasting impact of suppressed memory and asks what it means for both Britain and its former colonies to confront the truths long left in the shadows.

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NOW AGAIN is the first filmic interpretation of Marcel Proust's entire novel 'À la recherche du temps perdu'. Part Three encompasses the volumes of SODOM & GOMORRAH. Filmmaker Richard Philpott stretches narrative form into rich and varied experimental territories, providing a visual feast and sonic immersion, using AI and unique digital production techniques, to reveal the vast panoramic structure of Proust's great masterwork and provide a 21st century foundation for this timeless 20th century epic.

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A Nigerian immigrant in Glasgow loses his right to live and work in the UK and faces deportation, a volatile night with his pregnant Scottish partner spirals into violence, forcing him to confront love, survival, and the brutal cost of belonging.

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Caught between her indigenous Buryat roots—where art is a shamanic window between worlds—and a Western market that treats culture as a commodity, artist Yuma Radne constructs a monumental canvas to confront the psychological distortions of colonization at the edge of an irreversible era. "Either you make art, or you suffer. It’s like a curse." For painter Yuma Radne, the act of creation is not an aesthetic choice, but an ancestral code carried in the blood. Moving from a remote Siberian village to the high-stakes European art world, Yuma finds herself navigating a surreal landscape where sacred cultural identity is rapidly converted into a luxury product. Through intimate studio dialogues and raw philosophical reflections, the film captures the gruelling physical and mental labour behind her graduation masterpiece, The End of Times. Centred around a gargantuan erupting booze (a traditional Buryat dumpling) mutated into an absurd, monumental symbol of a colonised and erased national identity, the film transcends a typical artist portrait. It becomes a vital, cosmic meditation on why humanity continues to create art in the face of systemic collapse—and a powerful testament to an indigenous culture refusing to be reduced to a souvenir.

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In 1497, Prince Richard of Shrewsbury, the youngest of the missing 'Princes in the Tower', faces both his inner demons and the forces of King Henry Tudor during the final days of his conquest for the Throne of England.

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The Public have just played the best gig of their lives, and for the first time, someone in a suit is interested. It feels like the moment they have been waiting for, but celebrations quickly descend into chaos. Andy, the band's quiet and devoted guitarist, watches as his dream begins to dissolve around him. A chain reaction is set in motion as secrets are exposed, loyalties shift, and buried tensions explode to the surface. As the night spirals further out of control, the frontman, Ted, is pulled toward a future that could take him away for good. Andy becomes desperate to save Ted from himself and hold everything together, even as it becomes clear that some things will never be the same.

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Anna is a single mother balancing work with raising her nine-year-old daughter, Thea, a bright, sensitive child experiencing severe school- related distress and stuck on a three-year waiting list for an autism assessment. At home, Thea is creative, affectionate and deeply vulnerable. At school, her psychological distress is mistaken for truancy, fabrication or bad parenting. As Anna fights for support, she faces mounting scrutiny from the school and local authority. She is blamed for Thea’s behaviour, instructed to attend parenting courses and ultimately served financial fines for repeated “unauthorised absence”. Her daughter’s needs remain unrecognised, the morning routine is reduced to a battle of increasing violence, and Anna is pushed to breaking point. Threatened with criminal prosecution, on the brink of losing her job and now in a state of complete exhaustion, Anna attempts a final school drop- off. Thea, in a state of sensory overwhelm, takes desperate measures to avoid a public meltdown which ends in unspeakable tragedy. Yet, the calls from the school continue: a relentless reminder that, to the system, Anna's young daughter remains little more than another “unauthorised absence”.