Director: Daniel Cormack.
Black comedy. Hardened-pro news reporter Tammy initiates the novice reporter Niall into the art of the 'death-knock' - knocking on the doors of the recently bereaved to get a news story.
Niall's lack of success has put his job under threat and Tammy has been detailed to improve his hit rate. When Niall death-knocks Mrs Wright he finds not the grieving, hostile mother he expected but a warm welcome, good food and a comfortable bed, but what's really going on and what are Mrs Wright's true motives?
Director: Daniel Cormack.
A married couple appear to have all the trappings of wealth, success and happiness, but both Amelia and Michael have secrets from each other.
Michael drops off Amelia for lunch, but once the car is out of sight, Amelia removes her wedding ring and travels to an alternative destination. Michael, however, appears the perfect husband, organising a romantic dinner. But things are not always as they first appear. Amelia goes again to her secret destination: a hospital, where she is visiting a Lover who has been paralysed in a motorbike accident. Michael’s dinner is with a Call-Girl. After she has left his hotel room, he tries to sleep but can’t and is disturbed by a phone call from his work colleague Francis who has discovered his whereabouts.
Amelia uncovers evidence of Michael’s duplicity, but before she can act, the phone rings. She rushes to the hospital, but arrives to find her Lover has already died. Amelia returns to find Michael in the kitchen, who mistakenly assumes his infidelity is the cause of Amelia’s distress. He tries to explain but she silences him.
Amelia and Michael sit in the car in silence. A motorbike stops next to them; an incidental detail of the opening scene which now acquires a poignant and arresting meaning - representing the lost vitality of youth and love. AMELIA AND MICHAEL addresses the discrete, multi-faceted and often contradictory personas people present to each other and asks whether it is possible to truly know another person or even yourself.
The Festival’s provision of services to the Industry has increased in 2008 and ranges from ground-breaking international events to UK focused debates and leading talent development projects. This expanded and diverse slate is possible thanks to continued funding from Film London, the London Development Agency, the Mayor of London, and new industry sponsor, Production Base.Innovations for 2008 include a major event UK and India:The Shape of Things to Come, in association with the UK Film Counci...
Monday, October 15---------The London Film Festival, which opens later this week, is certainly about films, personalities and the love of cinema. However, this year, the Festival has also incorporated a number of exciting industry events to bring more attention to the UK filmmaking community and to give fledgling producers and directors the chance to network with their contemporaries from across the globe.London’s first ever Production Finance Market, launched by Film London in association wit...
London’s first ever Production Finance Market, launched by Film London in association with The Times BFI 51st London Film Festival, will take place 22-23 October, focusing on new private forms of investment, film finance and new distribution avenues; one of the many events in the Festival’s expanded industry calendar. 120 international and UK financiers and established producers will participate in more than 400 face-to-face matched meetings, including 11 emerging producers who have been sel...
The Directors Guild of Great Britain celebrated its second Directors Guild Awards for Outstanding Directorial Achievement in Film and Television with a gala ceremony at the Curzon Mayfair in London on the 20th of March 2005.The DGGB Awards honoured, amongst others, director Sam Mendes with a Lifetime Achievement Award for his work in theatre and film and director Simon McBurney with an Award for Outstanding Directorial Achievement in Theatre. The evening was compered by Michael Winner. Kevin S...
