Hugh Armstrong

Dar, the son of a king, is hunted by a priest after his birth and grows up in another family. When he becomes a grown man, his new father is murdered by savages and he discovers that he has the ability to communicate with animals, which leads him on a quest for revenge against his father's killers.

Story about the remarkable friendship between a reclusive writer and illustrator and a chaotic homeless man, whom he gets to know during a campaign to release two charity workers from prison.

When a government official disappears in the London tunnels, after several reports of missing people in the same location, Scotland Yard start to take the matter seriously, along with a couple who stumble into a victim by accident.

Antonia Bird's first feature length film; "Safe" from 1993, focused on the plight of the homeless in London.

Prudence Hardcastle is on the pill. So is her sister-in-law, but someone has been swapping aspirin for their pills. Is it the teenage niece, the maid, the chauffeur, a lover, Prudence's husband Gerald, or all of the above?

A wealthy, fatherless British clan kidnap bums and hippies, forcing them to participate in an elaborate role-playing game in which they are the perfect family; those who refuse or attempt escape endure ritualistic murder.

Pressure from his boss and a skin-cream client produces a talking boil on a British adman's neck.

The Widowmaker is a 1990 made for television film starring Annabelle Apsion, Alun Armstrong, David Morrissey and Kenneth Welsh. The film deals with a woman whose husband has been arrested after going on a killing rampage and the reaction of her local community. It was produced In the United Kingdom by Central Independent Television for the ITV Network and aired on 29 December 1990. It received a nomination for Best Single Drama at the 1991 BAFTA Awards.

Adapted and directed by Peter Brook from the Royal Shakespeare Company’s ‘production-in-progress US’, this long-unseen agitprop drama-doc – shot in London in 1967 and released only briefly in the UK and New York at the height of the Vietnam War – remains both thought-provoking and disturbing. A theatrical and cinematic social comment on US intervention in Vietnam, Brook’s film also reveals a 1960s London where art, theatre and political protest actively collude and where a young Glenda Jackson and RSC icons such as Peggy Ashcroft and Paul Scofield feature prominently on the front line. Multi-layered scenarios staged by Brook combine with newsreel footage, demonstrations, satirical songs and skits to illustrate the intensity of anti-war opinion within London’s artistic and intellectual community.