Heather Croall

Set in the industrial town of Whyalla, this is an intimate portrait of John Croall, a Glaswegian immigrant to Australia, and the father of long-time Adelaide Fringe director, Heather Croall. John Croall delivered three generations of babies and planted thousands of trees in the town. He was also a great letter writer, and this very personal documentary uses these letters as its point of departure. Heather Croall films with her father as a way of coping with his approaching death and reflecting on the close, and often very funny, relationship between a father and a daughter.

Set in the industrial town of Whyalla, this is an intimate portrait of John Croall, a Glaswegian immigrant to Australia, and the father of long-time Adelaide Fringe director, Heather Croall. John Croall delivered three generations of babies and planted thousands of trees in the town. He was also a great letter writer, and this very personal documentary uses these letters as its point of departure. Heather Croall films with her father as a way of coping with his approaching death and reflecting on the close, and often very funny, relationship between a father and a daughter.

Documentary looking at a century of cycling. Commissioned to mark the arrival of the 2014 Tour de France in Yorkshire, the film makes full use of stunning British Film Institute footage to transport the audience on a journey from the invention of the modern bike, through the rise of recreational cycling, to gruelling competitive races. Award-winning director Daisy Asquith artfully combines the richly-diverse archive with a hypnotic soundtrack from cult composer Bill Nelson in a joyful, absorbing watch for both cycling and archive fans.

A magical and moving archive trip through the universal theme of love, from the very first kisses ever caught on film, through the disruption of war to the birth of youth culture, gay liberation and free love, we follow courting couples flirting at tea dances, kissing in the back of the movies, shacking up and fighting for the right to love.

Using only archive film and a new musical score by the band Mogwai, Mark Cousins presents an impressionistic kaleidoscope of our nuclear times – protest marches, Cold War sabre-rattling, Chernobyl and Fukishima – but also the sublime beauty of the atomic world, and how x-rays and MRI scans have improved human lives. The nuclear age has been a nightmare, but dreamlike too.

Girt By Sea is a cinematic love letter to the coastline of Australia - a poetic celebration of our connection to the sea as documented through archival footage over the past 100 years.

From the Sea to the Land Beyond is a film about the British coast made from 100 years of our film heritage stored in the British Film Institute collection, edited by Penny Woolcock with a soundtrack by British Sea Power

Made entirely of Scottish film archive, a journey into our collective past, the film explores universal themes of love, loss, resistance, migration, work and play. Ordinary people, some long since dead, their names and identities largely forgotten, appear shimmering from the depth of the vaults to take a starring role. Brilliantly edited together, these silent individuals become composite characters, who emerge to tell us their stories, given voice by King Creosote's poetic music and lyrics

An exploration of the Samoan faafafine, boys who are raised as girls, who fulfill a traditional role in Samoan culture. In the past they have shared women's traditional work but today are becoming more westernized and look more like drag queens. Several anthropologists comment on the phenomenon examining issues of culture and gender and the complexities of sexual identity.

This film tells the story of itinerant circus performers, cabaret acts and fairground attractions, showing rarities and never-before seen footage of fairgrounds, circus entertainment, freak shows, variety performances, music hall and seaside entertainment, chronicled from the 19th and 20th century. We will see early shows that wowed the world and home movies of some of the greatest circus families. Director Benedikt Erlingsson takes us back to the days when the most outlandish, skillful and breathtaking acts traveled the world. This rich visual archive has been created with exclusive access to The University of Sheffield’s National Fairground Archive and is accompanied by an epic new score by Georg Holm and Orri Páll Dýrason of Sigur Rós, in collaboration with Hilmar Örn Hilmarsson and Kjartan Dagur Holm.

Set in the industrial town of Whyalla, this is an intimate portrait of John Croall, a Glaswegian immigrant to Australia, and the father of long-time Adelaide Fringe director, Heather Croall. John Croall delivered three generations of babies and planted thousands of trees in the town. He was also a great letter writer, and this very personal documentary uses these letters as its point of departure. Heather Croall films with her father as a way of coping with his approaching death and reflecting on the close, and often very funny, relationship between a father and a daughter.

Set in the industrial town of Whyalla, this is an intimate portrait of John Croall, a Glaswegian immigrant to Australia, and the father of long-time Adelaide Fringe director, Heather Croall. John Croall delivered three generations of babies and planted thousands of trees in the town. He was also a great letter writer, and this very personal documentary uses these letters as its point of departure. Heather Croall films with her father as a way of coping with his approaching death and reflecting on the close, and often very funny, relationship between a father and a daughter.

Set in the industrial town of Whyalla, this is an intimate portrait of John Croall, a Glaswegian immigrant to Australia, and the father of long-time Adelaide Fringe director, Heather Croall. John Croall delivered three generations of babies and planted thousands of trees in the town. He was also a great letter writer, and this very personal documentary uses these letters as its point of departure. Heather Croall films with her father as a way of coping with his approaching death and reflecting on the close, and often very funny, relationship between a father and a daughter.