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Lauren and her younger brother Harvey risk being taken into care when their grandmother, who is their legal guardian, becomes ill. Lauren accepts the offer of a scholarship to a prestigious sports academy on the understanding that she and Harvey stay together while living with Janice, her duplicitous and ambitious agent. It soon becomes clear that there are plans to split the pair up; when Harvey runs away to find their long-lost grandfather, who hasn’t been heard from for years, Lauren follows. En route the pair discover that, despite all their differences, when they are side by side they are strong enough to deal with anything. This beautifully shot British debut is part family drama, part coming of age story and a road trip that nods towards some of the greats of children’s literature. The young leads give compelling and moving performances that make for an emphatically British family film that’s refreshingly free of even the hint of a franchise. (Source: LFF programme)

Panorama film shot floating down the Seine.

A large ship embarking.

Off The Beaten Track is the documentary that tells the incredible story of four unlikely musicians over the past year, as they travel to Luanda, Caracas, Paris, India, London and the Lisbon suburb of Amadora to show how these cities, as well as their sounds, people, colours and movement helped create the phenomenon that is Buraka Som Sistema. With the full support of Red Bull Music Academy and the talented illustration work of artist Kate Moross, join Lisbon’ most unusual band on a trip around the world and back to the studio. Directed by João Pedro Moreira, Off The Beaten Track brings together all of the elements that make Buraka’s story so unique and blends them with exclusive international, never-before-seen footage for an incredible, wild ride that offers an insiders view of life in one of the most colourful and innovative bands around. (Source: LFF programme)

One minute film of Buffalo Bill's famous show.

A variation on the popular Butterfly Dance, released in hand-colored and stenciled versions. The film has the catalogue number 2011 and was likely shot in 1897 but not screened in France until the 10th of December 1899.

Guards of a casino beat Hou Hsiao-Shan because he was caught cheating. Fortunately, Kung Fu expert Ma Ta rescues him.

Documentarian Paul Kelly returns to the festival with his latest collaboration with the band Saint Etienne, following the loose trilogy of London films Finisterre, What Have You Done Today, Mervyn Day and This Is Tomorrow, all recently published on BFI DVD. In the decade since Finisterre Kelly has built a reputation as a distinctive voice in British cinema, developing a lyrical style that draws on the psychogeography and people of the city and its culture. How We Used To Live is effectively a prequel to Finisterre, a meditation on London life today and a glance back at a receding Britain. Using colour footage from the 1950s to the 1980s, taken from the BFI National Archive, the film covers the ‘New Elizabethan’ age from the optimism of the post-war era to the dawn of Thatcherism. Soundtracked by Saint Etienne’s Pete Wiggs and scripted by the band’s Bob Stanley with Travis Elborough, the film is for anyone who has ever tried to understand their city. (Source: LFF programme)

A view of the entrance to the Stockholmsutställlningen, the World Exhibition in Stockholm.

Lumière Brothers film automobiles driving at the Champs-Elysées.

British documentary filmmaker Chloe Ruthven’s grandparents were aid workers in Palestine. Growing up, she had avoided getting too involved in the subject, recalling how mention of the country made all the adults in her life angry. In her forties, after revisiting her grandmother’s book on the subject, she starts to research a documentary on the effects of foreign aid in the area and is shocked at the continued reliance on it there. Along the way she meets Lubna, a Palestinian woman who acts as her driver and fixer, and who is fiercely critical of Western aid efforts in her country. What begins as a quest to better understand her family history turns into a deeply emotional account of two women trying to understand one another. Ruthven’s determination to focus her film on deeply subjective analysis results in a unique joining of the acutely personal and complexly political. (Source: LFF programme)

The bookish Kostas is a suburban florist well versed in social and political theory, which he discusses at length with a local publican. But when his home is invaded by masked hoodlums, who bind his family and rape his teenage daughter, our everyman hero finds his intellectual stance untenable. Encouraged by his paranoid, militarist neighbour, Kostas decides to take the law into his own hands, and in doing so begins to understand – for the first time – the world he has been living in.