Nadine Marsh-Edwards

A single mother in London's Camden Town hears music when she meets a handsome stranger with a past. But she's not sure she's ready to open her heart.

Two disc jockeys have a friend's murder to solve in the fringe-group melting pot of 1977 London.

A group of South Asian women try but cannot escape their problems on a day trip to a British beach resort.

Two young people, Daniel and Samantha, are selected in a television show to marry. They have never seen each other ever. After the wedding ceremony took place on television, then married life really starts. To collect the price money of one million pounds, they have to stay together for at least six months.

A young Soweto actor joins a gang to study up and be more convincing in a gangster role he wants.

Territories is an experimental documentary about the Notting Hill Carnival. It locates the event within the struggle between white authority and black youth, in this case over the contested spaces of the carnival, and reflects on its history as symbolic act of resistance. The film makes the case using montage: cutting carnival scenes with archive news reports - police surveillance to rioting in the street - and crossing looks of desire with alienation, from police to reveller, woman to man, man to man. Add to this a disembodied, political critique and trenchant images of police violence and the audience soon becomes aware that the documentary itself is part of the resistance.

A young girl leaves her Nigerian village to attend a ballet school in England. Fascinated by Tchaikovsky's Swan Lake, she dreams of performing as lead ballerina Princess Odette, but the girls in her close-minded ballet school mock her ideas of a 'black swan'.

Director Maureen Blackwood harnesses the distinctive style of the Sankofa Film Collective to sketch the Abrew family tree. The achievements of the unique showbiz family are celebrated using rich archive material, including footage of family members in supporting film roles alongside Paul Robeson and intimate fireside-style testimony. The existence of Black British communities before Windrush is foregrounded, with insights into the Abrews' imprint on British culture beginning in 19th century Scotland.