My Friend Lanre

Director: Leo Regan

Year: 2004

Comfortably Numb follows Jake's battle to overcome his addiction to alcohol in a specialised treatment centre, Promis. He is initially resistant to the programme, but things improve when he starts a relationship with fellow patient, Emma. Jake is introduced to Promis's system of group counselling and is confronted about his 'sex and love' addiction. But he can't understand that his growing reliance on Emma is as much a barrier to his recovery as his dependency on alcohol. The pair are banned from seeing each other.   After a drug-fuelled night, things get out of hand. The next day, Jake comes close to accepting what he needs to do to recover but it proves too much for him and he decides to leave, and recover on his own terms. But almost immediately he walks into a pub.   It seems as though Jake will return to his old ways, but as the film ends, we see that he is back at Promis, determined to make a full recovery this time.

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.