British Film Institute Production Board

A man lives in a forest, surviving through murder and deceit. When he finds himself drawn to two strangers, his strict code of self-preservation is put to the test.

Inspired by Virginia Woolf, a young writer worries that marriage will hinder her literary ambitions. The film includes extracts from Virginia Woolf's novel To the Lighthouse and her essay Professions for Women, both read by feminist filmmaker and theorist Laura Mulvey.

Song tells the story of the women who worked in Victorian London's clothing sweatshops, eschewing a conventional narrative in favour of a series of still photographs and acted reconstructions to show that this story has been rewritten/written-over many times before.

A tragi-comic boat movie in which Beauty and The Beast live out their own particular fairytales.

A Southern soldier in the American Civil War is sent to reconnoiter the enemy positions and becomes trapped beneath a huge pile of rubble by Northern cannon fire. His loaded gun is left pointing precariously at him and he is faced with imminent death.

A young man (Aidan Gillan) arrives in the midst of London's Soho. He's from Belfast, he's anxious and he looks like he's running away from something. Then, by chance, he meets Grace, a prostitute who happens to come from Belfast too. A connection is made and, for a brief time, she seems to offer the chance of a new future.

A group of young friends convene in the countryside to shoot a horror movie. But an experiment with LSD sees normal boundaries between them collapsing, and tragedy subsequently striking.

Traces the role of women in British television, from 1946 to 1997.

A girl takes her camera along to a rocky beach, but quickly becomes fascinated with a far stranger mechanical contraption that she finds there.

The idyllic, rural past of a Suffolk village comes to life through the memories of an old man who tends a country graveyard.

In and around the tenement blocks and rubbish tips of the Glasgow slums, this short film depicts a young boy’s perspective of his family, his friends and the local ‘bad man’.

A series of non-dramatic tableaux representing scenes from De Sade's novel.

“Film questions whether the encouragement of very low paid jobs and schemes - both in general and specifically how they function in the area affected by the closure of the Consett steelworks in 1980 - is a sufficiently visionary response to the question of survival in post-industrial Britain. Local people talk about their experiences, an escapologist performs and a drag act sings. Plus drama sequence in which Bill tells Rose that making a fortune is easy.” - BFI.

An elegant film about one man's fears and fantasies regarding HIV testing.

A poetic young man crosses paths with a young runaway woman, and together they embark on an all-night journey through London’s sleepy metropolis.

Anna follows her absent Mother on her nightly ritual, as she walks round the family house, turning the house lamps on one by one. In the course of the lamp walk, Anna talks about being afraid of the dark and of the secrets that all families and lovers keep from one another.

Unemployed Anthony announces he is joining the police, much to the horror of his girlfriend and friends.

This chilling and provocative faux home movie presents the story of three dissidents and their plan to commit a revolutionary act on film. Bicât and scriptwriter Howard Brenton explore the consequences and co-option of political violence with hard, grubby directness and a pre-punk, semi-nihilistic attack on bourgeois values.

European emigre Tanya moves to London to work as a family au pair. Still grieving for her recently deceased father and rejected by an old friend, Tanya draws closer to her employer's husband. The sights and sounds of the Capital at Christmas form a deceptively romantic backdrop, for this brief meditation on loneliness and love.

A marital breakdown is brought to life through a mixture of dramatisation, monologue, montage and animation. Through the perspectives of the husband, the lawyer, the couple’s parents and their “home help”, a picture emerges of the transactional nature and economic fall-out of marriage, along with issues of class and gender politics affecting single mothers.