Peter Sykes

Friends, contemporaries and even enemies of Alexander the Great gather in a tent to tell his tale through their eyes.

2000 лет тому назад родился Иисус Христос. С тек пор начался новый отсчет времени в истории человечества. Это не случайно: Иисус оказал огромное влияние на ход нашей истории, а для миллиардов людей Он жив и по сей день.

Американский писатель-оккультист пытается спасти душу молодой женщины, которую терроризирует группа сатанистов, возглавляемых отлученным от церкви священником. Девушку планируют использовать в качестве посланницы Дьявола на Земле.

Albert Steptoe and his son Harold are rag-and-bone men, complete with horse and cart to tour the neighbourhood. They also live amicably together at the junk yard. Always on the lookout for ways to improve his lot, Harold invests his father's life savings in a greyhound who is almost blind and can't see the hare. When the dog loses a race and Harold has to pay off the debt, he comes up with another bright idea. Collect his father's life insurance. To do this his father must pretend to be dead.

Comedy legend Frankie Howerd stars as the victim of sinister shenanigans in this hilarious spoof of British horror films of the early ‘70s. Starring Hugh Burden and Oscar winner Ray Milland, and written by Terry Nation. Foster Twelvetrees, a struggling tragedian who scrapes a living by giving hammy performances from the classics, can hardly believe his luck when he’s invited to give a dramatic reading at the country home of a well-off family. Joy soon turns to outraged horror when he discovers dead bodies, foul intentions, lots of snakes and a madwoman in the attic. Can he uncover the hidden family secret before he comes to a sticky end..?

A physician discovers that two children are being kept virtually imprisoned in their house by their father. He investigates, and discovers a web of sex, incest and satanic possession.

A Nazi scientist and a woman known as a "spider goddess" attempt to develop a nerve gas made from spider venom.

The Committee, starring Paul Jones of Manfred Mann fame, is a unique document of Britain in the 1960s. After a very successful run in London’s West End in 1968, viewings of this controversial movie have been few and far between. Stunning black and white camera work by Ian Wilson brings to life this “chilling fable” by Max Steuer, a lecturer (now Reader Emeritus) at the London School of Economics. Avoiding easy answers, The Committee uses a surreal murder to explore the tension and conflict between bureaucracy on one side, and individual freedom on the other. Many films, such as Total Recall, Fahrenheit 451 and Camus’ The Stranger, see the state as ignorant and repressive, and pass over the inevitable weaknesses lying deep in individuals. Drawing on the ideas of R.D. Laing, a psychologically hip state faces an all too human protagonist.

The Committee, starring Paul Jones of Manfred Mann fame, is a unique document of Britain in the 1960s. After a very successful run in London’s West End in 1968, viewings of this controversial movie have been few and far between. Stunning black and white camera work by Ian Wilson brings to life this “chilling fable” by Max Steuer, a lecturer (now Reader Emeritus) at the London School of Economics. Avoiding easy answers, The Committee uses a surreal murder to explore the tension and conflict between bureaucracy on one side, and individual freedom on the other. Many films, such as Total Recall, Fahrenheit 451 and Camus’ The Stranger, see the state as ignorant and repressive, and pass over the inevitable weaknesses lying deep in individuals. Drawing on the ideas of R.D. Laing, a psychologically hip state faces an all too human protagonist.

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.