Spin

Director: Ayo Shonaiya

Year: 2000

Ayo Shonaiya launched production outfit Rainmaker 70 Filmworks in 1996 and has been steadily making a name for himself as a film and music video director ever since. Spin is his third feature after 1996's More Blessing and King Of My Country, which spent six months at the top of Nigeria's film charts in 1997. Spin may well top this success and expose his work to a wider British audience - following its UK premiere in London's Rio Cinema it has been selected for the second annual Black Filmmaker Festival, which takes place in London in August. The film tells the story of Ruky, a Nigerian woman who is facing deportation from Britain unless she can find a way to gain a permanent visa. She could marry boyfriend Ebenezer, but he refuses to marry for anything other than love. Then Ruky meets millionaire Lucky Okoro and his lawyer Dele, and events take a different turn. Production on the film nearly ground to a halt after the first 10 days, when the actress playing Ruky pulled out. But at the last minute, actress Caroline Chikezie, a contact of one of the crew members and an established actress with credits including Babymother and Virtual Sexuality, stepped into the breach after an impromptu casting meeting in McDonald's in London's King's Cross. Shonaiya exploited his experience working on music videos to weave a soul and jazz-flavoured soundtrack through the story, with music supplied by Nigerian rapper Papa Ken and UK-based Nigerian soul/jazz singer Ola Onabule.

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.