Deputy Sheriff Lou Ford is a pillar of the community in his small west Texas town, patient and apparently thoughtful. Some people think he is a little slow and maybe boring, but that is the worst they say about him. But then nobody knows about what Lou calls his "sickness": He is a brilliant, but disturbed sociopathic sadist.

Haunted by visions from his abusive childhood, Montana deputy sheriff Lou Ford gradually exhibits the signs of a homicidal schizophrenic.

In 2003 Phie Ambo made the graduation film from the Danish Film School 'The Diver Inside Me'.

An ex-convict (Robert Beltran) and his lover (Julie Carmen) plot to kill her husband (Guy Boyd), owner of a nightclub in east Los Angeles.

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While his girlfriend is away on a trip, retired assassin Bang Ui-kang is tasked with looking after her friend's 17-year-old daughter. After a street attack, Bang Ui-kang becomes embroiled in a murder investigation and dangerous trafficking gang.

In lawless badlands, reclusive Cabeleira sets out to discover the fate of his gunman father and grows to be a feared assassin himself.

The Inside is an American crime drama television series created by Tim Minear and Howard Gordon and produced by Imagine Television. The Inside follows the work of the FBI's Los Angeles Violent Crimes Unit, a division dedicated to investigating particularly dangerous crimes. The Inside initially aired on the Fox Network from June 8 to July 13, 2005. Although thirteen episodes were produced, Fox aired only seven episodes before canceling the series. All thirteen episodes were subsequently aired on Britain's ITV4 in 2006.

A group of girls are terrorized by violent vagrants before succumbing to a horrific supernatural evil.

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.