Biopic about 1970s Welsh marijuana trafficker Howard Marks, whose inventive smuggling schemes made him a huge success in the drug trade, as well as leading to dealings with both the IRA and British Intelligence. Based on Marks' biography with the same title.

Come one, come all, and worship at the altar of Everett Lord, high priest of consumerism. It’s a siren call for product-obsessed Frank (David Thewlis), thrilled to bag a shelf-stacking job at Superstore - until he meets the subversive Anna, who sets him on a collision course with his new boss. Lander’s ribald treatment of shopping mall culture, with its pop-promo texturing and ironic tone, anticipates the aesthetic qualities that would dominate early-90s short filmmaking in the UK.

Rik Lander was one half of 1980s scratch video duo the Duvet Brothers, best known for their work Blue Monday (1984), a pointedly political assembly of found footage set to New Order’s groundbreaking electronic hit.

A married drunk (Thewlis) hooks up with the ex-girlfriend of a viscious local criminal (Isaacs). He gets booted out of home for his infedelity, has a murderer on his tail, and must try to write the story of his life in order to save his journalism job. He gets help from a stripper dressed as a nun (Griffiths) and goes undercover dressed as Shaggy from Scooby Doo. He finds a drinking buddy in an American fellow journalist.

Plot from imdb, not so accurate though.

An escaped convict decides that his robbers' roost needs more than just a lick of paint.
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True story of a British soldier (David Thewlis), who is left behind in the Falklands after the war with Argentina. He travels on a journey from the Falkland Islands, to his army barracks in England where he is severely beaten and ostracized by his fellow soldiers.

Two young men and a sultry divorcee flee their drab hometown existence, taking to the road in a bubblegum pink chevrolet.

1996 film directed by John Frankenheimer

2022 film directed by Harry Bradbeer

Mandy is a mother, a writer, a nihilist. Mandy is a modern woman in a crisis. Raising a son in the midst of a female revolution, mining the pain of her parents’ separation and professionally writing about a love that no longer exists, she falls upon a troubled man, Pete, who’s searching for a sense of worth, belonging and ‘restored’ Male identity.

An ITV British Sitcom set in a public park, in which Tom (Ken Jones) the head gardener works along with Max (David Threnod) , Bodie (Daniel Peacock) and Doyle (Bernard Padden)

2011 film by Luc Besson

what motivated me up to the new director's festival to catch 'martin frost' tonight was the brutal review that it got yesterday from the lead critic of the new york times, brutal dismissal, to be more accurate, 'the less said about (it) the better', she said, and i figured that any movie able to teach Ms Dargis the virtue of silence for even a few column inches would be worth the trip.
and worth the trip it was. we are brought into a paradise of limpidly beautiful visual textures. the oaken rhythms of a country house ensconced in a springtime parkland of luxuriant trees and luminous skies bestow the soothing natural blessing needed by the main character, martin frost (David Thewlis), a writer rubbed raw by the mechanics of finishing a novel in new york city. (Thewlis makes palpable the casualty of intrapsychic machinery sawed into daemonic reverb against the banausic hive). then paradise morphs into purgatory, leavened comedically, in Dante's sense, by the postmodern angelic visitations of Claire (Irene Jacobs) and Anna (Sophie Auster).
unfortunately, to my taste, the verbal dimensions of the film are flaccid, the logic more fanciful than imaginative, the narrative arc crippled by some irredeemably creaky plotting, especially at the crucial initiation of the relationship between martin and Claire where the seeds of common sense are thrown to the magpies of theatricality.
but so beguiling is the willful vulnerability of auster's fantasy, and the edgy interplay that it potentiates between Thewlis and Jacobs, and the camera, and later Sophie Auster, and the broad comedy of a rural everyman (Michael Imperioli), that it is very pleasant to be carried along on the visual foam of uncertain sensual delight, eddying into a feeling that this film's oddly louche light touch is uniquely adept at tracing some grave lineaments of the human heart.
go innocently.

This story follows Maurice, a streetwise cat, who has the perfect money-making scam. He finds a dumb-looking kid who plays a pipe and has his very own horde of rats, who are strangely literate.

Road
Directed by Alan Clarke
UK, 1987, color, 67 min.
With Neil Dudgeon, Jane Horrocks, David Thewlis
Alan Clarke is credited with launching the careers of British talent such as Gary Oldman and Tim Roth (who would both later imitate his style in their respective directorial debuts) but he went largely unnoticed beyond England, as most of his films were produced for the BBC. Road was adapted from Jim Cartwright's acclaimed stage play for British television, with glorious results. In a Northern industrial town, young people wander the streets in search of entertainment. Clarke uses Steadicam shots to capture the extended conversations between characters who reside in a community who blighted by economic hardship but still find simple joys in living.

The fates of horses, and the people who own and command them, are revealed as Black Beauty narrates the circle of his life.

Joseph K. awakes one morning, to find two strange men in his room, telling him he has been arrested. Joseph is not told what he is charged with, and despite being "arrested," is allowed to remain free and go to work. But despite the strange nature of his arrest, Joseph soon learns that his trial, however odd, is very real, and tries desperately to spare himself from the court's judgement. Written by Mike Myers {[email protected]}

Detective Chief Inspector Jane Tennison moves to a new district and is put in charge of a vice investigation instead of homicide. But soon a homicide case impinges on her new job when a very young male prostitute is murdered in the apartment of Vera Reynolds, a female impersonator. Soon Jane is on the trail of the boy's brutal young pimp (played by David Thewlis). But her investigation is complicated by the Old Boy's Network, which is spying on her and is more concerned with preventing scandal than bringing the villain to justice.
from imdb, written by Reid Gagle

Joy works in a chemists and gets to know Clive as he comes in for various things – their relationship develop even though she seems to be having different conversations from him, as he is always just making bad jokes. Joy gets her hair done by Betty in the local hairdressers; Betty cannot stop talking for a second, even when she goes home to her daughter Charlene.

(Plot by 'bob the moo' from imdb)

Veronica wants to remain in jail for a sexual assault she knows she's been wrongfully indicted for. She and her father, Jim, find themselves acting out of the bounds of good behavior as the past haunts them.

While in exile in Italy, an African woman finds herself trying to get back home and free her imprisoned husband. But the only man that can help her do so is in love with her.