Five features. One storyteller.

Against the divided landscape of Kashmir, Second Sun follows Amanpreet and Sohail, two lives caught on opposite sides of a conflict shaped long before either of them had any say in it.

As political rhetoric hardens, propaganda replaces truth and military tensions accelerate towards open war, the rhythms of ordinary life continue beneath the gathering storm. Farmers work their land. Families grieve. Communities endure. Borders drawn by history become increasingly real to the people forced to live beside them.

But when violence begins to overwhelm politics, Amanpreet and Sohail are drawn into events far larger than themselves, exposing the human reality concealed beneath headlines, flags and competing versions of history.

Second Sun is a powerful contemporary drama about Kashmir, identity, grief and the terrifying ease with which nations can move towards conflict. Told through the people who must live with its consequences, it refuses to reduce war to armies, governments or ideology.

Because on either side of a border, the sun rises on people who bleed the same.

For millennia, Lucifer has been remembered as the great betrayer. The fallen angel. The architect of temptation. The enemy of God. The truth is far more dangerous. Lucifer did not fall from Heaven. He descended.

Beneath creation lies an ancient boundary, a prison holding something that existed before angels, before humanity, perhaps before creation itself. Lucifer was sent to guard it. While mankind turned him into the author of every sin, he has spent eternity fighting a war no human being knew existed. Now the boundary is failing.

As unexplained phenomena begin to fracture the modern world, a small group of unlikely investigators uncover fragments of a history that contradicts everything humanity believes about Heaven, Hell and the being it has called Satan. Their search leads towards an impossible revelation: Hell was never built to keep humanity in. It was built to keep something else out.

Blending supernatural thriller, theological mystery and epic dark fantasy, The Unfallen reimagines one of civilisation’s oldest stories through a provocative central question: what if history’s greatest villain was actually the soldier who never abandoned his post?

And after thousands of years standing between creation and the darkness beyond it, Lucifer is getting tired.

Hiba grows up beneath the shadow of war, checkpoints and barbed wire, in a place where childhood is fragile and the future is something other people seem to control. But Hiba has already decided who she will become. A doctor.

From the fierce young girl protecting her siblings and staring beyond the border towards a wider world, Hiba grows into a woman whose instinct to care for others becomes both her greatest strength and her greatest burden. Medicine takes her far from home and into places shaped by conflict, danger and human suffering, where competence becomes armour and duty begins to consume everything around it.

Yet every life saved carries a cost. Years of deployments, separation and responsibility begin to erode the boundaries between vocation and sacrifice, leaving Hiba to confront a question medicine cannot answer: if you spend your life saving the world but slowly lose your place within your own family, what exactly have you saved?

Hiba is an intimate, sweeping human drama about war, medicine, motherhood, ambition and the invisible price paid by those who repeatedly walk towards suffering when everyone else is trying to escape it.

It is the story of an extraordinary woman. And the ordinary life she must fight not to lose.

Max Karr is a surgeon who has spent a lifetime in war. He has operated under fire, made impossible choices with seconds to spare and learned the brutal arithmetic of survival: who can be saved, who cannot, and what it costs to decide. But when the wars finally end, Max discovers that peace offers no refuge. His wife is gone, his children have grown distant and the memories he carried home have followed him into every silent room.

Then the phone rings. In a remote conflict zone, hospitals are being targeted and surgeons are being murdered at the operating table. They need someone willing to go where others cannot. Max has nothing left to lose.

Returning to the world he understands best, he is forced once again to confront mass casualties, moral compromise and the terrible decisions that medicine demands when there are too many wounded and too little time. Yet beneath the violence lies a deeper reckoning with the man Max has become, the family he left behind and the question he has avoided for decades: can someone who has spent his life saving others still save himself?

The Surgeon’s Last Fire is a visceral, character-driven war drama about trauma surgery, duty, grief and redemption. It strips away the mythology of the heroic battlefield surgeon and reveals something far more human: a man whose greatest gift has also become the thing that has consumed him.

Because sometimes the final life a surgeon has to save is his own.

Walter Brune is a man who believes in rules, procedures, risk assessments and, ideally, nothing happening that has not first appeared on a clipboard. Then he decides to grow potatoes.

Stationed within a United Nations mission in Africa, Walter’s modest agricultural experiment should be simple. Instead, it becomes gloriously, catastrophically complicated. Before long, his potatoes have attracted local children, peacekeepers, engineers, bureaucracy, irrigation problems, an impending inspection and Igor, a goat with absolutely no respect for international governance.

But somewhere amongst the mud, panic and administrative chaos, something unexpected begins to grow. A field becomes a meeting place. Strangers become a community. And Walter, a man terrified of getting things wrong, begins to discover that perhaps the things worth doing cannot always be planned, authorised or measured.

Spuds is a warm, irreverent and deeply human comedy about bureaucracy, friendship and the extraordinary consequences of one very ordinary idea. Beneath its humour lies a simple celebration of what international communities can achieve when people stop worrying about who gets the credit and start getting their hands dirty.

Because sometimes diplomacy needs fewer committees. And more potatoes.