Here to Be Heard: The Story of the Slits

Director: William E. Badgley

Year: 2020

The story of Don Letts, a first generation Black British cultural mover and shaker, filmmaker, musician and raconteur. The film frames Don’s story with the Enoch Powell Rivers of Blood speech in 1968 and the “hostile environment” immigration policy of 2018. That’s the backdrop and the context of Don’s life – trying to find a place in the world. So we cover his relationship with the nascent punk scene – how rastas and punks found a common bond, both outside the mainstream, and how he introduced dub reggae to the punks. How he became part of the inner circle of the Clash, and how Johnny Rotten took him to Jamaica. He then became a top promo director (London Calling, Chain Gang, Pass the Dutchie) and then he formed a band, Big Audio Dynamite, with his old friend Mick Jones and made music that incorporated dance, reggae, rap, film samples and rock n roll. On leaving BAD Letts became a feature director, won a Grammy for his documentary WESTWAY TO THE WORLD: THE STORY OF THE CLASH, and is now a leading cultural commentator.

Director: Alex Darby, George Leith, Sophie Mei Birkin

Year: 2026

Adlais (Echo) weaves Welsh language folklore and histories through their shared subjects of poetry and drowning – and asks whether we’re listening to the past as it surfaces today.

Director: Luca Anzalone

Year: 2026

Caught between her indigenous Buryat roots—where art is a shamanic window between worlds—and a Western market that treats culture as a commodity, artist Yuma Radne constructs a monumental canvas to confront the psychological distortions of colonization at the edge of an irreversible era. "Either you make art, or you suffer. It’s like a curse." For painter Yuma Radne, the act of creation is not an aesthetic choice, but an ancestral code carried in the blood. Moving from a remote Siberian village to the high-stakes European art world, Yuma finds herself navigating a surreal landscape where sacred cultural identity is rapidly converted into a luxury product. Through intimate studio dialogues and raw philosophical reflections, the film captures the gruelling physical and mental labour behind her graduation masterpiece, The End of Times. Centred around a gargantuan erupting booze (a traditional Buryat dumpling) mutated into an absurd, monumental symbol of a colonised and erased national identity, the film transcends a typical artist portrait. It becomes a vital, cosmic meditation on why humanity continues to create art in the face of systemic collapse—and a powerful testament to an indigenous culture refusing to be reduced to a souvenir.