When blind former Olympic skier Sophie Scott cat-sits in a secluded mansion, she gets caught in the crossfire of a home invasion scheme. She must rely on a sighted Army veteran via the See for Me app to help her survive the night.

An FBI agent and an Interpol detective track a team of illusionists who pull off bank heists during their performances and reward their audiences with the money.

A woman who killed her man has served her sentence. She sails through town; she sails through scenes of life. A girl sees her, forgives her, and saves her. The woman has done her thing. The world finally embraces her again.

A low level thief breaks into an affluent home looking for mysterious files.

One year after outwitting the FBI and winning the public’s adulation with their mind-bending spectacles, the Four Horsemen resurface only to find themselves face to face with a new enemy who enlists them to pull off their most dangerous heist yet.

How Do You See Me? is a Brazilian documentary feature that entwines both experienced actors and beginners to explore the hardships and the happiness that are inherent to the job when detached from the glam and glitz of the gossip industry, creating a diverse and comprehensive mosaic of what it means to be an actor in Brazil, a country so full of contradictions. The film brings forward a reality that the masses usually don't get to know: the men and women moved by a deep passion for acting and touching people. With Julio Adrião, Matheus Nachtergaele, José Celso Martinez, Cássia Kis, Nanda Costa, Babu Santana, Luciano Vidigal and Letícia Sabatella, among others.

The fourth instalment in the franchise. Plot TBA.

Okay Keskidee! Let Me See Inside is a love letter to the UK Caribbean diaspora, exploring black histories, physical spaces and notions of community. The site of the Keskidee Centre, a pioneering Afro-Caribbean cultural centre, is now occupied by luxury apartments. The closure of such valued spaces where people could gather and organise coincided with the rise of a political discourse which led to a lack of documentation of Black Caribbean pasts. Working on the surface of the film image itself – making use of a rostrum camera and optical printer – filmmaker Rhea Storr reflects on the histories that remain trapped in the archive and how capitalism has affected our connection to the past.

The fourth instalment in the franchise. Plot TBA.

Rent’s a bitch. And that is why, six months after her best friend went missing, Amanda finally gives in to getting another roommate, Hailey. The two college students turn out to have something in common, however: abusive men. For Hailey, it’s her dad. For Amanda, it’s a stalkery ex-boyfriend. But problems can be solved and, you know, you scratch my back, I scratch yours. In other words, Kill for Me, I kill for you.