The Testimony of Taliesin Jones

Director: Martin Duffy

Year: 2000

When Tal Jones' mother leaves home to live with her hairdresser, the 12-year-old boy is left to deal with his uncommunicative father (Jonathan Pryce) and bitter older brother (Matthew Rhys), as well as all the other problems of growing up in a Welsh farming community, such as bullying, piano lessons and warts. The Testimony Of Taliesin Jones takes an unexpected turn, when Tal finds out his elderly piano teacher Billy Evans (Ian Bannen, in one of his last roles before his death last year) is a faith healer. Billy heals Tal's warts, inspiring him to form his own gang, the Believers, who land in trouble when they try to cure a school mate with diabetes. The result is a story about God, belief and miracles. Based on Welsh writer Rhidian Brook's first novel, which won the Somerset Maugham Award in 1997 and was shortlisted for Welsh Novel of the Year, the material had particular appeal for director Martin Duffy, who had worked with healer Finbarr Nolan on his autobiography Seventh Son Of A Seventh Son. Unknown actor John-Paul Macleod was chosen from hundreds of hopefuls for the title role. Duffy's first feature, The Boy From Mercury, won several awards, including three of the main prizes at the Giffoni children's film festival in Italy. His next film is The Bumblebee Flies Anyway, starring Elijah Wood and Janeane Garofalo. The Testimony Of Taliesin Jones had its first screening in the Cannes market in May.

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.