Robin Sheppard

A young woman abruptly moves into an elderly lady's house. Strange things start to happen and soon it becomes clear witchcraft is involved.

Based in the 1970s Britain, "Octavia" charts the schemes of the title character to steal her friend's man.

Karen Cooper wants to domineer her family and believes she's its pillar. In fact she does everything wrong. Thus she messes up all their lives and futures, rather then help her loved-ones.

Tracy a young working class girl, who - against the wishes of her parents and racist ex-boyfriend - becomes one of three wives of West London Persian restaurateur, Sam.

A drama based on the true story of Angela Cannings, who was wrongly convicted of killing two of her children, on the basis of "expert witness" evidence about Sudden Infant Death Syndrome (Cot Death Syndrome) which has since been discredited.

When a man and a woman swap jobs and cities temporarily, they face many problems large and small, but their phone calls develop into romance.

A rollicking adaptation of Kingsley Amis's first novel, Lucky Jim stars Stephen Tompkinson as Jim Dixon, a luckless lecturer at a provincial British university, trying to make a splash with his pompous boss, Professor Neddy Welch (Robert Hardy). Jim is also trying to make it with the woman of his dreams, Christine Callaghan (Keeley Hawes, Othello and Wives and Daughters), while simultaneously being pursued by the woman of his nightmares, fellow lecturer Margaret Peel (Helen McCrory, Anna Karenina). One (of many) complications is that Christine is the girlfriend of Professor Welch's egotistical artist son, Bertrand. Another is that Margaret keeps attempting suicide to get Jim's attention. But despite his misadventures, Jim keeps his eyes on the prize: a leg up on the ladder to a professorship in medieval history.

Hawkins was an original film for BBC Television about a man who lives a double life, as a Nietzschean Philosophy Lecturer and as a Detective who is fascinated by lowlife and criminal mentalities.

A cinematographic response to Sylvia Plath’s Lady Lazarus with Plath’s own readings of her poetry. A carousel of images in windows, an atmosphere of constant metamorphosis; her poetry as cinema. Audo outtakes of Plath reading from "Cut," "Daddy," "Lady Lazarus," "Ariel," "Ouija," as well as excerpts from a 1962 interview. Mixing images of Plath's obsessions (ouija boards, horses, violent self-harm) with photographs of the poet and her work, the film delves deeply into an existence that Plath herself, in a voice-over interview, calls "living on air."