Asparagus

For centuries, the Murgatroyd family, the Baronets of Ruddigore, have been under a witch's curse — commit a crime every day, or die in agony. Sir Ruthven Murgatroyd, the rightful heir, has run away to live as innocent peasant Robin Oakapple in the Cornish village of Rederring, sticking his brother Despard with the curse. But on the very day that "Robin" is to marry sweet, beautiful Rose Maybud, it all falls apart. Can Sir Ruthven outwit a picture gallery full of his ancestors' ghosts to save the day?

An alliance of evil-doers, led by Frieda, looks to take over Fairy Tale Land. But when Ella realizes her stepmother is out to ruin her storybook existence, she takes a dramatic turn and blossoms into the leader of the resistance effort.

How can the flames of desire be rekindled after 25 years of married life? Izabela Plucinska’s erotic comedy, made entirely through the use of modelling clay, delves into the private lives of Alice and Henry, a couple in their fifties numbed by routine, who are holed up in a rococo-kitsch hotel room…

This is the story about a boy not like the others that dreams about finding his place in the world.

Three characters share a common traumatic experience when they were born.

The day of the cremation of her grand mother, Emilie, a young mixed-race Asian girl, buries herself into her grandmother memories. She discovers the Indochina of Hoa, her romantic encounter with Jacques (a French colon), the birth of Linh (Emilie's mother) and her tragic departure to France in 1956. She relives with Linh the arrival into the camp of Sainte-Livrade, the exploitation of the Indochinese women by the market gardeners of Lot-et-Garonne. Between memories, dance, anger and traditional rituals, Emilie learns to accept this heritage.

When Rong was a small child she and her parents moved from Vietnam to Prague. Now she is grown up and remembers that time and what it was like to feel like a foreigner.

A 4 minute film based on flowing changing images from liquid-like faces to flashing abstract imagery.

Working, as in other films, with relatively simple materials and a contemplative stance, Ratté begins by exploring the flickering movement of light and its distortion as it is translated into the digital realm, using chromatic excess as a means to corrupt her sources' integrity. These somewhat inform images of natural events slowly morph into geometric grids with which moving human silhouettes are later juxtaposed before we are finally sent back to the abstract shapes that opened the film, now harmonised with these colour-looms and figurative forms.

A clear-eyed look at the inevitability of our demise, based on Philip Larkin’s poem of the same name.

The film is designed to encourage recycling - which was a key part of the war effort.