Flutter is a tale of greed, gambling and one very strange bookie.

There are three things in JOHN'S life. Betting, betting and betting. Betting rules John's life in more ways than any normal, sane, rational, non-gambling person can ever imagine. For John, it's an obsession. But his wife HELEN puts up with it because she loves him - and she loves the high of a big win.

When John's rolling in it, they both roll in it – flash hotels, flash holidays and a flash life…for a while. When it's good it's good and when it's not, there's always next time. And most important, John's honest with Helen: if he loses, he tells her. Always. That is, up until he meets STAN.  

Stan is a new bookie down at the dog track. Stan is also a woman. John's never seen a female bookie at the track. Neither have WAGNER and ADRIAN, his two best friends. So John puts his money with Stan, and he wins. Big time.

But soon enough the money's gone, and the wins dry up. It's at that point that Stan offers John a new way to make money, the Special Bet. The Special Bet can take any form, eat a hot chilli, spend a week in the bath, and pull out that broken tooth. Each time John can win real money by completing one, but Stan decides the stake and she has a penchant for personal things. She's not interested in money, but if something has sentimental value then that's what she demands as a stake. There's only one other rule, a Special Bet stays secret. No one else is allowed to know. Not even Helen.

But when Adrian dies in a mysterious accident John wonders if he was the only person taking these Special Bets. He decides he's had enough but it's not that easy to walk away from Stan.

Events start spiralling out of control as John digs himself deeper into Stan's pocket, until the stakes are raised to mind-blowing odds. The bet could change John's life, but like all of Stan's bets there are rules which cannot be broken.  Break them and face the consequences. With his family. With his friends. John is going to make one last bet, and the stakes can't get any higher than this.

Letterbox

A real life game that has been played for over a hundred years by millions of people around the world, Letterboxing is an intriguing mix of hiking, puzzle solving, treasure hunting, and rubber stamp artistry, topped off with the thrill of discovery…
…then again Letterboxing can lead to death! Bloody, terrible death!

Two teams are thrust into a nightmare game of cat and mouse competing for survival against each other.  With only 80 minutes to solve a series of Letterbox clues and no escape all hell breaks loose and the body count multiplies as players will do anything to survive.  As the last minutes tick down towards the stunning climax, you will be pushed to the very edge of your seat.

Directed and Photographed by RICHARD BODDINGTON
Produced by MICHAEL HAMILTON-WRIGHT
Written by BURT L. WARNER & MICAHEL HAMILTON-WRIGHT

The Knife That Killed Me

The Knife that Killed Me is a story about coming of age, the laws of the playground, and the potential impact of peer pressure and bullying.

Paul is an outsider at school who finds himself torn between slowly making friends with a relatively uncool crowd and keeping in with the bullies who could so easily make his life a misery – the safest part of the hurricane being the eye, or so he thinks. But when inter-school feuds spiral into ever increasing violence, the smallest of decisions can lead to tragic consequences. Set in a world of peer pressure where every weakness is exploited and where fear corrupts, The Knife that Killed Me will be a fast paced, thrilling, genre-shifting film about one boy’s attempt to grow up in modern teenage Britain. Caught between love and idealism, rival gangs and survival, his life is suddenly cut short. We follow his attempts to comprehend how a series of commonplace events have led him inexorably to such a tragic and violent death. Paul is an uncomfortable victim. He faces his adversity with the wit and ingenuity of a rebel spirit. He dreams and tells stories. He has no alternative now. He is locked away in a grey, cold hell where he can’t harm himself, or anyone else, ever again. He has time to think, to remember, and to replay the images and memories that are now seared into his brain. Some blur, some recur. The worst stay in sharp focus. Sometimes he lies to us. Sometimes he makes things up and sometimes he tells us the truth. A truth that cuts and hurts. At times deeply moving, frightening and humorous, our narrator leads us through a visual world that is nightmarish, compelling, and always highly original. The visuals will be strong and stylised, echoing the first person narrative of Paul’s story. It is a story told to us by a boy driven by circumstance towards a hell of his own making. The visuals will synthesise Paul’s mundane external world with the nightmarish magic real aesthetic that characterises his desperate predicament. An increasing sense of isolation fuels the story.

We fly above Paul’s grey confinement and discover a mind obsessed with images and memories that haunt him. We share Paul’s restless thought process, follow his wandering mind through time, and revisit the key scenes that have shattered his life. Images flash: the school, the field, his home, his mates, the fight. Sometimes the moves get reordered, things distort, change colour, take on new hues. But one thing never alters. The relentless passage of the knife, an irreversible motion that started its journey there... and that finishes, always finishes, here... back with the knife. The knife that killed me.

Directed by MARCUS ROMER & KIT MONKMAN
Written by MARCUS ROMER & KIT MONKMAN
Based on the Novel by ANTHONY MCGOWAN
Produced by ALAN LATHAM, IAN FOXLEY & NICHOLAS ‘PIKKI’ FEARON
Director of Photography GILES NUTTGENS
Visual Effects by TOM WEXLER
Production Designer ALLI ALLEN
Music by SANDY NUTTGENS
Line Producer TOM MATTINSON