Graham Baird (Alexis Kanner, best known for appearing in the last three episodes of The Prisoner) wakes up in a strange bed wearing strange clothes. He gradually starts to piece together what happened over the last twenty four hours. Or does he? By the end of this one I still wasn't sure exactly what had happened. This one boasts an interesting cast, including Justine Lord who was in The Prisoner episode The Girl Who Was Death along with Kanner, Robert Lang, and Yootha Joyce as a prostitute. A Game of Two Halves (2023, 28 mins) (Interview with The Terminal Game writer & Director Geoff Lowe)

Splashing Around (2020, 18 mins): interview with Julie Peasgood, star of The Lake and House of the Long Shadows. Julie was 22 when she shot this and really enjoyed the experience, although did get frightened in the car sequence. She also recalls shooting House of Long Shadows and falling in love with Vincent Price and Peter Cushing and their funny stories. Bob Bentley talks about Maze. He begins by talking about his time at art school, and a project called 1+1+1+1 (which may of course not be spelled that way), where four people made four short films and appeared in each other’s. He does give an explanation of Maze, which is fair enough as the film could do with one. Some scenes came to him in dreams. Maze did however, attract the attention of Bruce Beresford, then the Head of Production at the BFI, who invited him to submit an idea, which became the 1970 short Having a Lovely Time, which has a connection with another film in the set, see below. (Neither Maze nor Having a Lovely Time have IMDB entries as I write this. Maybe the latter will turn up in a future release.) James Carré-Rice said he “spiralled into violence” after being held at Whatton Detention Centre in Nottinghamshire and went on to serve three more sentences. The other major highlight is Death Was a Passenger (1958) by Theodore Zichy, who also made Portrait of a Matador. This one, however, is far better, achieving something altogether more effective with this sub-twenty minute tale of an escape from Nazi officers in occupied France. Zichy manages to put together something simple and suspenseful, using a straightforward and effective narrative to do so and using the time constraint as a good way to bookend the film at both beginning and end.When I got to reception one of the officers came out and asked me my name, he seemed quite friendly,” he said. Mr Carré-Rice, who has since written books based on his experiences, said the abuse appeared to be “random”. Wings of Death: Behind the Scenes (2023, 7 mins): co-director Nichola Bruce’s chronological edit of her 8mm footage of the shoot

It turned us into hardened criminals. I went in for stealing a motorbike, and six months later I was appearing in court for armed robbery and possession of firearms... common sense should have told you then that brutalising kids would have an adverse effect.” Far from “deterring criminals” – the Tory government’s stated aim – Keith said the experience left him with a lifelong hatred for authority, adding: “I always saw them as the enemy. I went on to spend most of my life in and out of prisons.” The idea was perhaps taken too far, perhaps the training they were given was taken beyond the realm of legality. We need an inquiry to work out who was authorising this type of behaviour.” Lee said the teenagers were woken up at 5am every morning, with “uncomfortable and intimidating” guards watching them shower.An interview by video conference with Clare Binns, who talks about the Ritzy Cinema in Brixton (where one scene in The Mark of Lilith takes place) then and as it is now. She had her first job there at age nineteen in the early 1970s. Then it was a more political south of the River alternative to the Scala in King’s Cross, with a programme that changed daily, including some radical film and documentary, sometimes putting on women-only showings. There’s a scene in The Mark of Lilith where Lillia, clearly not finding anything at the local three-screen to her liking, asks the taxi driver to take her to the Ritzy. When the film was shown there, that line provoked a cheer. In fact, says Binns, taxi drivers and local residents often disapproved of some of the clientele as the cinema was very friendly to queer and otherwise alternative viewers. Nowadays, the Ritzy is a part of the Picturehouse cinema chain and shows a more conventional selection of films, but Binns is keen that while the cinema may show the likes of Free Guy, maybe curious audiences could come along to documentary screenings, often with Q&As. Directors: Ronald Haines, John Gilling, Theodore Zichy, Ian F.H. Lloyd, Robert Bierman, David Evans, Polly Biswas Gladwin, Bruna Fionda, Zachary Nataf Dozens of victims are calling for a public inquiry into the abuse as police investigate allegations relating to Medomsley Detention Centre in County Durham and Kirklevington Detention Centre in North Yorkshire, where over 400 victims have already come forward.