Guesthouse Paradiso

Director: Adrian Edmondson

Year: 2000

Guest House Paradiso is the much-anticipated feature debut of two popular UK comedians, Rik Mayall and Adrian Edmondson. The anarchic story of the world's worst hotel was written by the pair, directed by Edmondson and produced by Phil McIntyre, the music and live show promoter who had worked with Mayall and Edmondson on their live show. The trio had long wanted to make a feature together and funding came from Video Vision, a division of the then-PolyGram Filmed Entertainment, and now Universal Pictures International (UPI). "With the opportunities available to Rik (Mayall) and Ade (Edmondson), it has been easier for them to take the course of least resistance and to write a book, do a TV series, or act in somebody else's film, that somebody else has financed, than actually to do their own thing," says McIntyre. "But things became easier so we made a film." In addition to Mayall and Edmondson, the cast is populated by some of Europe's most dynamic acting talent including Vincent Cassel, Helene Mathieu and Bill Nighy. "There's only one criterion in the whole film, which is that it's very funny," Mayall explains. "We find it's much better to build your own world, to make a fantasy and invite people into it. It's a world where the level of reality is such that you can do the kind of things we do, such as be swung around by meathooks through your nose without it seeming unreal." Shooting took place in April 1999 at Ealing Studios and on location on the Isle of Wight. Universal International Pictures released the film in the UK in April 2000.

Director: Sandeep Kumar Paul

Year: 2026

Science teacher Swarna and her partner Driti move to a suburban town for a fresh start. When a student leaks intimate photos of Swarna online, school authorities turn her private life into a disciplinary issue. Official Selection Busan International Film Festival 2026 - World premiere

Director: Yv Shells

Year: 2026

When Arlo arrives to find Marcus has cooked someone else’s favourite meal, a single question begins to unravel an evening that refuses to stay in the present. Through a fractured timeline set entirely within one dining room, we move between Marcus and Arlo and the relationship that came before, with Una, the woman he met at a late-night bus stop and once talked about marrying. The same table, the same chairs, the same arguments about trust, honesty and what it means to truly see someone. As the timelines bleed together, it becomes clear that Marcus has never fully left the past, and that Una’s ghost sits at every table he sets. When Arlo asks what her own favourite meal is and he cannot answer, the film’s quiet devastation lands completely. CLOCKS is a portrait of a man who loves generously but sees poorly, and the women who carry the cost. It asks what we owe the person in front of us while we are still in love with someone we lost, and whether a feeling ever truly ends.