Lollipop
Synopsis
Official Selection Edinburgh International Film Festival 2024 - World premiere
Details
- Year
- 2024
- Type of project
- Features
- Running time
- 100 min
- Director
-
Daisy-May Hudson 1st Feature
- Producer
- Cecilia Frugiuele, Olivier Kaempfer
- Editor
- Lee Mckarkiel
- Screenwriter
- Daisy-May Hudson
- Director of Photography
- Jaime Ackroyd
- Composer
- Music Supervisor: Connie Farr
- Principal cast
- Posy Sterling, TerriAnn Cousins, Idil Ahmed
Genre
Categories
Production Status
Production Company
A Parkville Pictures production supported by BFI Film Fund, BBC Film
Sales Company
Architect
167 Great Portland StreetLondon
W1W 5PF
Page updates
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See also
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Half Way
Director: Daisy-May Hudson
Year: 2016
A moving portrait of the UK housing crisis, told through the experience of one family. Filmed over a year, Daisy-May is both director and daughter as her and her family fight to retain their dignity whilst they wait to be rehoused by the council. This is an extraordinary story of courage and determination, a story of family bonds which is both heart-breaking and life affirming, combining moments of tremendous tenderness and grit with some unexpected humour. HALF WAY offers an alternative narrative from the current exhausted media coverage of the housing crisis; it does not, and cannot, shy away from the harsh actualities of homelessness.
About an Intimate Matter
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
Clocks
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.