The Criminal

Director: Julian Simpson

Year: 2000

Encouraged by the response to his short film Any Dream Will Do and by editor Mark Aarons, writer-director Julian Simpson began developing a first feature inspired by film noir and Hitchcockian chase thrillers in which a hapless innocent is caught in the vortex of events beyond their control. "I didn't want to make a film noir picture as such," Simpson explains. "I don't think you can emulate something which was so particular to a period, but I was fascinated by the premise of a relentless chase and how the directors of that time conveyed a story." In The Criminal, Steven MacKintosh plays a penniless musician whose close encounter with a beautiful woman (Natasha Little) leaves him the prime suspect in a brutal murder. The more he tries to prove his innocence, the more he is trapped in a far-reaching conspiracy. Response to the screenplay was immediate from industry figures and actors alike and the project gained early momentum when Simpson teamed up with producer Christopher Johnson. A round of meetings brought H Michael Heuser's Storm Entertainment on board as a sales agent and a slew of European pre-sales followed that provided approximately half of the budget. The remaining half of the financing was secured through partnership with Palm Pictures. The film was warmly received at the 1999 London Film Festival and was subsequently purchased by Paramount Pictures for UK, Australia and New Zealand. It opens in the UK this October.

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.