When conflict, rebellion and resentment overwhelm their family, Charlie and Alice are forced to change their parenting strategy, and are surprised to find effective, life-long solutions we’re closer than they imagined.
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Eli is a man in his twenties with a calling on his life from a young age, but he’s been running from that calling – a modern day Jonah. After being fired by his father, arguing with his girlfriend in front of their daughter, and then a visit to the local pub, Eli decides to get out of town. On a lonely mountain highway Eli misses a turn and careens over an embankment, landing deep in the forest. It is a place of mystery with no way out, but it is there where God works on his heart. Satan is not far behind of course, working to convince Eli to take a different path. In the end Eli is faced with a choice that will have repercussions on generations as his destiny is to be the Billy Graham of his time.
Soon to be a father, Mark feels the pressure of domestic responsibility closing in, so he is more than happy to accept when his old friend Kurt proposes a camping trip in the Oregon wilderness. During their time together, the men come to grips with the changes in their lives and the effect on their relationship.
Eoghan is a sound-recordist who is returning to Ireland from Berlin for the first time in 15 years. His reason for returning is a job offer: to find and record places free from man-made sound. His quest takes him away from towns and villages into remote terrain. Throughout his journey, he is drawn into a series of encounters and conversations which gradually divert his attention towards a more intangible silence, one that is bound up with the sounds of the life he had left behind. Influenced by elements of folklore and archive, “Silence” unfolds with a quiet intensity, where poetic images reveal an absorbing meditation on themes relating to sound and silence, history, memory and exile.
After surviving a shark attack a young woman is plagued by nightmares of being stalked in the dark sea by a ravenous predator, and hallucinations of visits from her sister and boyfriend, both who were killed in the attack.
Nasty Baby centers around a Brooklyn couple, Freddy and his boyfriend Mo, who are trying to have a baby with the help of their best friend, Polly. Freddy is an artist, and his latest work is all about babies – it’s clear he’s dying to be a father. Polly is a family practitioner who is more interested in having a baby than having a man. Mo is hesitant about the entire idea, especially when Polly isn’t having success with Freddyʼs sperm and the donor responsibility shifts to him. Set almost entirely in the multicultural vibrancy of Fort Greene, Brooklyn, the trio navigates the idea of creating life, when they are confronted by unexpected harassment from particularly aggressive neighborhood man, nicknamed The Bishop. The Bishop is bothersome in small, yet persistent ways, with a hint of danger. As their clashes become increasingly aggressive, someone is bound to get hurt.
In the winter of 1820, the New England whaling ship Essex was assaulted by something no one could believe: a whale of mammoth size and will, and an almost human sense of vengeance. The real-life maritime disaster would inspire Herman Melville’s Moby Dick. But that told only half the story. “Heart of the Sea” reveals the encounter’s harrowing aftermath, as the ship’s surviving crew is pushed to their limits and forced to do the unthinkable to stay alive. Braving storms, starvation, panic and despair, the men will call into question their deepest beliefs, from the value of their lives to the morality of their trade, as their captain searches for direction on the open sea and his first mate still seeks to bring the great whale down.
Entirely shot on green screen, Shakespeare’s Macbeth has been reinvented by director Kit Monkman (The Knife That Killed Me) in an exciting new film adaptation. Starring Mark Rowley, (The Last Kingdom, Luther). Monkman’s unique adaptation successfully bridges the gap between theatre and film to create a wholly new type of imaginative space. This radical new adaptation puts the audience’s engagement with the story centre-stage, amplifying the theatrical context of the original and creating truly innovative and thrilling cinematic vistas, whilst maintaining the language and themes of Shakespeare’s original play. Using background matte painting and computer modelling to generate the world in which the action plays out, the green screen allows Monkman to create his vision of a multi-tiered globe in which the characters play out their various fates.