Edwyn sees the number nine everywhere and is convinced that forces of evil are at work.

The Sorrows of Satan is a 1917 British silent fantasy film directed by Alexander Butler and starring Gladys Cooper, Owen Nares and Cecil Humphreys. Made at Isleworth Studios, and based on the novel of the same name, the plot involves a poverty-stricken author so depressed that he agrees to sell his soul to the Devil.

A detective who secretly heads a gang of jewel thieves loves an actress engaged to an Earl`s son.

An attractive young French girl instigates rivalry between two brothers when she becomes the bride of the younger one. As the situation festers it leads to murder…

Story about the search for identity. With the lead character being adopted and trying to find the missing puzzle piece of where she comes from. With the help of modern technology and DNA testing she is able to make a connection with a biological relative, who invites her and her friends down to Louisiana. However with this new connection comes an old family secret, one that was suppose to stay hidden from her.

A jewel thief finds himself a target when a smuggled cigarette case made from a stolen new metal falls into his hands.

Police Commander Falcon is on the hunt for a serial killer. When the murderer switches clothes with a vagabond and fools the police forces he resumes his killings and goes after Falcon and his family.

A desperate gambler in debt with a gangster robs a Chinese tattoo artist, getting stabbed and killing the man in the process. A black spot appears on his chest and begins to spread and turn into a condemning tattoo

Guyanese painter Aubrey Williams (1926-1990) returns to his homeland on a “journey to the source of his inspiration” in this vivid Arts Council documentary, filmed towards the end of his life. The title comes from the indigenous Arawak word ‘timehri’ - the mark of the hand of man - which Williams equates to art itself. Timehri was also then the name of the international airport at Georgetown, Guyana's capital, where Williams stops off to restore an earlier mural. The film offers a rare insight into life beyond Georgetown, what Williams calls “the real Guyana.” Before moving to England in 1952 he had been sent to work on a sugar plantation in the jungle; this is his first chance to revisit the region and the Warao Indians - formative influences on his work - in four decades. Challenging the ill-treatment of indigenous Guyanese, Williams explored the potential of art to change attitudes. By venturing beyond his British studio, this film puts his work into vibrant context.

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