The King of Covent Garden

Director: Andrew Levitas

Year: 2020

Three-time Academy Award® nominee Johnny Depp plays celebrated war photographer W. Eugene Smith in a real life David vs Goliath story, pitting Smith against a powerful corporation responsible for poisoning the people of Minamata, Japan in 1971. New York, 1971. W. Eugene Smith (Johnny Depp) is a celebrated photo-journalist and photo-essayist, but he feels devoid of inspiration. He is at such a low ebb he even considers suicide. Then a Japanese-American woman Aileen (Minami) shows up to convince him to come to the Japanese coastal city of Minamata, whose community has been ravaged by mercury poisoning, the result of decades of gross industrial negligence by Japan’s Chisso Corporation. Eugene eventually agrees to go, with the reluctant and secret support of Life Magazine head Robert Hayes (Bill Nighy). With Aileen, Smith immerses himself in the community, documenting the people’s efforts to live with Minamata Disease and their passionate fight to achieve recognition and compensation from Chisso. It is a life-changing experience — one which brings Eugene redemption, love, new purpose and his greatest-ever photograph. A photograph that will change the world and provide desperately needed fuel to the fledgling environmental protection movement. 'Minamata' is a moving redemptive story of how one man’s powerful photograph impacted the world, yet in order to find it he had to open his heart. Official Selection Berlin International Film Festival 2020 - Berlinale Special - World premiere

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.