The Great Ecstasy of Robert Carmichael

Director: Thomas Clay

Year: 2019

1657. Fanny and John Lye and their young son Arthur live lives of Puritan stricture on a remote Shropshire farm in a valley beside a forest. Once a Captain in the English Civil War, now a firm believer in Oliver Cromwell’s republic, John suffers a game leg and therefore it is Fanny who must carry out most duties around the farm, taken for granted by both husband and son. One morning, when the family are out at church, two uninvited visitors take refuge in their barn: the charismatic Thomas Ashbury and his young ‘wife’ Rebecca Henshaw, who come running from the forest naked as Adam and Eve. Thomas tells a story of robbery by vicious highwaymen. Although suspicious, John offers clothes and shelter for the night - which satisfies Fanny’s compassionate nature. Whilst the young couple are polite, almost obsequious at first, soon Thomas’ carefree manner can’t help but reveal itself: he makes seductive eyes at Fanny and then draws Arthur into a food fight, for which - despite Thomas’ protestations - the house patriarch disciplines both wife and child. The next day, as Thomas and John coppice wood, Rebecca accidentally reveals to Fanny that she and Thomas are unmarried. Soon after, three more strangers approach the farm: a Sheriff and his Deputy, accompanied by the local Constable, hunting members of a blasphemous ‘Ranter’ sect. From here, events quickly escalate in ways that will change all their lives forever. Official Selection BFI London Film Festival 2019 - Official Competition - World premiere Big Screen Competition, International Film Festival Rotterdam 2020

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.