Kirsty Strain

A zombie apocalypse threatens the sleepy town of Little Haven—at Christmas—forcing Anna and her friends to fight, slash, and sing their way to survival. In a desperate race to reach their loved ones, they soon learn that no one is safe in this new world, and with civilization falling apart around them, the only people they can truly rely on are each other.

A madly-in-love young couple's relationship begins to suffer when they struggle to conceive a child.

A spiritualist medium agrees to help a grieving widower figure out why his daughter has developed a daylight phobia.

Siri wakes to find herself trapped inside a brutalist candy-coloured dreamhouse. Despite the cutesy decor, the place is far from benign, and she and her inmates are encouraged to compete for survival while being watched over by surveillance cameras, 24/7. Presiding over the group is an authoritarian diva who speaks entirely with the voice of Kenneth Clark from the 1960s BBC series Civilisation. As she forces the women to go head-to-head in a series of demeaning tasks, Siri, with the help of fellow inmate Alexa, starts subverting the rules and soon reveals the sinister truth that underpins their world.

Martin (deceased) is stuck in a dead-end job, welcoming the newly departed into the afterlife. All he dreams of is going 'Up There'. But his plans are thrown into disarray when he has to team up with the relentlessly chirpy Rash and together they lose a new arrival. The mismatched pair give chase and end up in a remote seaside town populated by cocky teenagers, sinister old women and the enigmatic Liz, who has 'suicide written all over her'. Can they stop bickering long enough to find the lost soul? Will Rash be reunited with his brother Chunky? And can Martin get back in time to finally get 'Up There'? UP THERE is a killer comedy about life, death and irritating friends.

A misogynistic masked killer prepares for the routine slaying of Anna, his 27th victim, in the comfort of his own home. As Anna struggles to break out of the role the killer has chosen for her, the dead women in the walls and floors play a last desperate card.

John, lives in a remote area of Scotland. The primary industry is potato farming and John is a picker who lives for the harvests; it is all he has in his life. He yearns for a life that he does not know how to make for himself - a home and family. John exhibits all the signs of someone who has suffered unknown tragedies in his life, but those reasons are hidden from the viewer. While driving back to town on a dark and isolated road, John comes upon a car stopped up ahead. He immediately can see a hose attached to the exhaust pipe. He has come upon a suicide. Suddenly, headlights appear in the opposite direction and John's immediate reaction is to hide, though he has done nothing wrong. That choice leads John to take the body of the dead young woman to a shed in the woods.

In Germs, female stereotypes, pseudoscience and promised happiness clash with violent consequences.

Sophie goes on a killing spree in a candy-coloured world.

A grief-stricken father hunts down the boy responsible for the events that led to his son's murder but finds himself unable to escape the consequences of his own violent actions.

An eight-year-old boy must give the eulogy at his father's funeral.

A young boy braves the mean marvelous streets of North Glasgow to shepherd his drunken father home safely.

'The Weepers' is a 30-minute short film that playfully explores Scotland's relationship with the Gothic horror genre. Drawing on a variety of cultural reference points, including Scottish myth, haunted house movies and Doctor Johnson’s trip to the Hebrides, the film is a surreal exploration of Highland culture post-Clearances, where the number of sheep has gradually exceeded that of the human population.