Jonathan Lewis

The Plant

In a garden in a London suburb, corpses sprout out of the earth on during a live television gardening programme called Down to Earth. However, it soon appears that these human bodies are not dead people, they are grown there, like plants. The question is who is growing these bodies and for which purpose.

The Plant

In a garden in a London suburb, corpses sprout out of the earth on during a live television gardening programme called Down to Earth. However, it soon appears that these human bodies are not dead people, they are grown there, like plants. The question is who is growing these bodies and for which purpose.

The Treaty

How the Anglo-Irish Treaty between the unrecognised Irish Republic, represented by Michael Collins, and the British government was concluded after high-stakes negotiations in 1921.

Towers of Babel

A BAFTA award nominated black comedy about life and death in a London tower block.

Rabbit Pie Day

As World War II draws to a close thousands of Russian soldiers overtaken by the Allied advance in Europe find themselves in England - and they like it. The major of one particular camp foresees problems should they have to go back; but as he says, 'They're only going home, after all!' - but home to what?

Before Hindsight

Newsreels from the '30s constitute the bulk of this fascinating documentary, clearly illustrating that the public was fed an extremely biased view of events: straight propaganda, the stricture to provide entertainment, and the attempt to be objective all contributing to this. Lewis and producer Elizabeth Taylor-Mead have constructed their argument well, but it is Jonathan Dimbleby's brief comments towards the end that contain the crucial lesson: forty years on, the same forces work to distort our view of Northern Ireland. The film only indicates this to be the case, but it is precise and coherent enough to make the point with considerable force.

Before Hindsight

Newsreels from the '30s constitute the bulk of this fascinating documentary, clearly illustrating that the public was fed an extremely biased view of events: straight propaganda, the stricture to provide entertainment, and the attempt to be objective all contributing to this. Lewis and producer Elizabeth Taylor-Mead have constructed their argument well, but it is Jonathan Dimbleby's brief comments towards the end that contain the crucial lesson: forty years on, the same forces work to distort our view of Northern Ireland. The film only indicates this to be the case, but it is precise and coherent enough to make the point with considerable force.