Within the space of five years in the 1990s, six young women went missing in Ireland, never to be seen again. In the same vast area known today as Ireland’s Vanishing Triangle, Annie McCarrick, Josephine Dullard, Fiona Pender, Ciara Breen, Fiona Sinnott and Deirdre Jacob all disappeared without a trace. Thirty years on from the first case, the new two-part crime series delves into the investigations prompted by the tragic disappearances of these women and the ongoing search for answers. 　　Featuring interviews with some of the victims’ family and friends, former detectives and investigative journalists, this harrowing series examines whether we are any closer to uncovering one of Ireland’s darkest secrets. 　　Crime journalist Geraldine Niland is at the heart of the story – taking us through the cases and beyond as she fights for answers for the families still grappling with the devastation of not knowing what happened to their loved ones. As well as an in-depth analysis by Irish forensic scientist David Kenny who reveals a location where, he believes, a body or bodies may be buried – deep in the Wicklow mountains and close to the home of local suspect Larry Murphy.

"S.(Silent) Korea" is a poignant 52-minute video that meticulously curates a decade-long chronicle of the Sewol Ferry tragedy, a devastating maritime disaster that claimed the lives of 304 people, primarily high school students, on April 16, 2014. The director of this video was in the same year in high school as the students on the ferry back in 2014. This tragedy unfolded due to the glaring inadequacy of the South Korean government and the critical misinformation disseminated by major public news outlets, which initially and falsely reported that the students were safe. 　　The video is a silent testament to the disillusionment with mainstream media and governmental incompetence. The first half of the film presents yearly broadcasts from 2014 to 2018, showcasing news anchors as they grapple with evolving narratives, discovering new facts only to contradict themselves the following year. By stripping away all verbal communication, the film underscores the futility and unreliability of the spoken word, reflecting the creator's profound distrust in these institutions.