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.

Director: Susan Everett.
“Hello Mum. My name’s Alison. Born on the sixth of June, twenty eight years ago. But you know that already, don’t you?” Grieving the death of her adoptive mother, Alison tries to track down her natural mother to find a replacement ‘mum’. She sends out a videotape as an introduction.