Orphaned after a shipwreck off the Victorian coast of Australia, the spirited Philadelphia Gordon finds both love and adventure aboard a paddle-steamer on the Murray River.

At the turn of the century, new roads and railway lines threaten the very existence of the once thriving river boat trade. While trying to mediate in the dispute between the shearers and the riverboat skippers, Brenton Edwards is framed and sentenced to imprisonment in Melbourne. Without Brenton, Delie is faced with a custody battle over her children and the not altogether unwanted attentions of Cyrus James, a charming, but mysterious overseas entrepreneur. Alone she must fight to keep her family and the riverboat "Philadelphia".

Radu is having a hard time dealing with his mother’s death.

Cyrus James (Parker Stevenson), an American traveling in Australia at the turn of the century, encounters the riverboat Philadelphia, skippered by Brenton Edwards (John Waters) and his family. The Edwards clan loves plying the river, but when patriarch Brenton is unjustly sent to prison, Cyrus does all he can to help the family put bread on the table until their father can return home.

When a tidemark of poisoned crabs & lobsters devastate a small North East fishing town veteran fisherman Stan Rennie becomes the unlikeliest of activists. A wry David and Goliath story,told with gallows humour, about the grief of navigating a world which has suddenly, inexplicably changed forever.

An urgent, funny and tender feature documentary made in the North East of England, by Jeanie Finlay, in the place where she grew up.

Recorded play based on "Run" by Mikhail Bulgakov, Moscow Chekhov Art Theater.

A famous fitness influencer's morning run turns into a fight for survival when she's hunted by killers, and her fate depends on the viewer's choices that determine if she and a local farmer she meets live or die.

Repurposing the video game Sleeping Dogs (2012), IN THE LONG RUN//WE ARE ALL DEAD is a single-take experimental machinima that unfolds within the rain-soaked, neon-lit streets of a virtual Hong Kong. Operating within the aesthetics of neo-noir, the work constructs a relentless pursuit—an enigmatic chase where the identities of both the pursuer and the pursued remain ambiguous. Sirens wail, bullets ricochet, and rain distorts the cityscape, reinforcing the sense of perpetual movement and existential uncertainty. Who is the runner? What is the nature of their escape? Is there an endpoint, or is the pursuit itself the defining condition of this digital existence? Offering no resolution, the machinima foregrounds the mechanics of pursuit as a metaphor for the relentless temporality of virtual worlds and the cyclical nature of digital violence.

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