"Me jumping out of the van, was the beginning of a very bad day for me. I just didn't know it, but I was going to know it, in about four minutes, I was going to know, fer trut." 2020. Delroy is arrested on his way to the hospital. Filled with anger and grief, he recalls the moments and relationships that gave him hope before his life was irrevocably changed. Written in response to their play Death of England, Death of England: Delroy is a new standalone work by Clint Dyer and Roy Williams, which follows a Black working-class man searching for truth and confronting his relationship with White Britain.

Britain is locked down. Michael and Delroy are dealing with issues closer to home. During an explosive afternoon in Delroy's flat, they are forced to confront their relationship with their country – and with each other.

A grieving son's funeral speech turns into an elegy for his father, the national football team, and a country torn apart by its identity crisis. Rafe Spall stars in a 'microplay', written by Roy Williams and directed by Clint Dyer after a conversation with Barney Ronay. Death of England is the latest in a series of plays made in collaboration between The Guardian journalists and Royal Court Theatre-makers.

After the death of his dad, Michael is powerless and angry. In a state of heartbreak, he confronts the difficult truths about his father’s legacy and the country that shaped him. At the funeral, unannounced and unprepared, Michael decides it is time to speak.

There are two sides to every story. Grieving the loss of the family shop with their dreams destroyed, Denise and daughter-in-law Carly are left to pick up the pieces of their relatives’ mistakes.

Death as non-existence, non-being, or the absence of life has been a subject of human interest for millennia. Poets, philosophers, prophets, and hermits have now been replaced by filmmakers, influencers, cryonicists, and evolutionary biologists in the search for the quintessence of life and death. Zoltan Istvan runs a cryonics laboratory and is running for president of the United States with the demand that immortality be included among fundamental human rights. In Russia, a mass festival dedicated to the cult of death is traditionally held. Dāvis Sīmanis' film essay reveals the twists and turns of man's age-old desire for eternal life. It uncovers the metaphorical and fetishistic representations of death and the mechanisms by which we come to terms with our own mortality.

一部关于弗朗西斯·德雷克爵士（Sir Francis Drake）的海盗电影。由马西森·朗（Matheson Lang）饰演德雷克，阿西娜·塞耶（Athene Seyler）饰演伊丽莎白女王。

elebrated photographer Martin Parr travels around England during the summer of 1998, armed with a DV camera and a mission to define 'Englishness' through the nation's subjects. Think of England (tx. 27/4/1999), shown as part of the BBC's Modern Times series, continues Martin Parr's project, documented over thirty years as a Magnum photographer, to expose the eccentricities and casual bigotry of England's white 'moral majority'. The film's rainswept resorts, dual-carriageway picnics, and village-of-the-damned fetes are unmistakably English, but Parr's surrealistic style (ugly close-ups of a bulging bicep with blurred "Liz" tattoo, or the naked lunch of a cardiac-inducing Sunday roast) is more reminiscent of American photographers Garry Winogrand and William Eggleston, and film-maker David Lynch. For example, a day-glo red rose in Think of England, adrift in a concrete garden, echoes Blue Velvet's (US, d. Lynch, 1986) suburban nightmares, yet here the national symbol is transformed into a powerful metaphor for a falsely proud and isolated island. Like Lynch, Parr has been accused of trading warmth for wit and turning humans into laboratory rats under microscopic inspection. Certainly, Think of England (the "lie back and..." allusion of its title is an early clue to Parr's satirical intentions) is a far cry from the so-called objectivity of the "observational style". Rather, it is a highly subjective state of the nation address, a portrait of England's white tribes as terrifyingly insular, racist (whether the working-class Wolverhamptonian who tells Parr, "Do what Enoch Powell says, send 'em all back" or the Hooray-at-Henley who bemoans the sale of his beloved Rolls Royce to BMW: "the Germans"), and full of empty jingoism. "We won two world wars and one world cup," barks a youth as if on autopilot, to which his friend replies, "All we're good at is moaning." While Think of England touches cursorily on sexual politics and the North/South divide, Parr's subjects are ultimately of a type, united under a Union Jack and a permanently grey sky. As the film reaches its climax on Blackpool pier, biblical storms whistle up mini-skirts and candyfloss crashes to earth. "I love it. Reminds me of my childhood," insists a woman bent double by the gales. It's the kind of 'English dottiness' much beloved of British film and TV, that usually signifies heroic endurance or, at worst, lovable eccentricity; here, it's a symptom of pathological self-delusion, patriotism as the last refuge of a nation. -- Joe Sieder

暂无剧情简介

Throughout history, Britain's castles have witnessed murders, executions, and countless acts of cruelty that spawned a parade of spirits. This program presents spine tingling stories in a riveting tour of England's ghostly heritage.