A noble swordsman and a one-armed swordswoman go up against the vicious Crimson Charm gang of thieves and cutthroats. The lovely and lethal Ivy Ling Po teams with the amazing Chang I for a classic tale of good versus evil in which the best man and one-armed woman wins.

Martinón is the last inhabitant of Auzal, a village in the mountains where he lives in communion with nature. He only goes down to the valleys twice a year to trade and to buy provisions. But one day he’s convinced to take a wife, a decision intended to soften his calloused soul—but in some ways his real struggle is only just beginning.

An R&B singer snagged by the trappings of superstardom loses his way and turns his back on his church and faith-filled beginnings. Tragedy strikes, leaving a chance for redemption in its wake. But with rebirth, first comes death.

In the late 1960s, when the young Jewish businessman’s son Victor Dessauer fails to secure just punishment for the Nazi concentration camp commandant who tortured his parents, he resolves to take the law into his own hands.

To salve his guilty conscience an elder brother removes his disturbed younger sibling from a mental institution after a suicide attempt and tries to bring him back to mental competency through one on one contact. Free of the institution he continues to be haunted by dreams of a lost twin and chants the eerie phrase “Do I stand before the king?” It is the elder brother that seems doomed to lose himself in his brother’s insanity.

Two disc jockeys have a friend’s murder to solve in the fringe-group melting pot of 1977 London.

While her mother is away from home, 12-year-old Adar’s role-playing games with her stepfather move into dangerous territory. Seeking an escape, Adar finds Alan, an ethereal boy that accompanies her on a dark journey between reality and fantasy.

A documentary & cross-media project about the creativity of non-violent resistance and modern forms of civil disobedience.

Frankie Dymon’s Death May be Your Santa Claus (1969), arguably Britain’s first and only example of a ‘black power’ movie, in which themes of sexual and political identity encircle one another in the context of a hip and hippy London of the late 1960s, suspended between the cinematic radicalisms of films such as Roeg’s Performance, Godard’s Sympathy for the Devil in which Dymon played a leading role, or Boorman’s Leo the Last. Thought lost until quite recently, this inscrutably-titled film is described as a ‘pop fantasy’ and offers an intriguing look at 60s sex and politics from a black British perspective.

It’s not 1985 anymore…it’s 1986, and Chuck Steel is ‘the best God damn cop on the force’ according to his long suffering boss, Captain Jack Schitt. But even this maverick, renegade, loose cannon, lone wolf, cop on the edge, who doesn’t play by the rules has his work cut out when the Governor of LA decides to reduce the licensing hours for clubs and bars triggering a sudden, inexplicable spate of high profile disappearances in the city. The disappearances all have the same thing in common, a crime scene covered in blood but with no sign of the victim. The police are perplexed until they get a break in the case when one of the victims manages to escape. Chuck goes to interview the victim at the hospital but is confronted by a crazed old man who introduces himself as Abraham Van Rental. He warns a disbelieving Chuck that an evil scourge is about to descend on the city of Los Angeles – the scourge of the TRAMPIRES – a mutated hybrid of vampire and tramp.

When a young fisherman with a hidden talent gets discovered by a music producer, he must decide if he’s ready to open himself up to stardom — and love.

A woman who survived the brutal killing of her family as a child is forced to confront the events of that day.