Anne Chapman

In the seaside town of Rochefort, twin sisters Delphine and Solange dream of love and artistic fulfillment beyond their quiet lives. As sailors, artists, musicians, and chance visitors pass through town during a weekend fair, a web of near-misses and romantic longing brings ideal partners tantalizingly close—without their realizing it.

Through the story of a single family, Brassneck traces a history that parallels the Labour Party's advent to power in 1945 through to the property speculation of the 1960s and the disillusionment with the Labour government in the early 1970s. Like most of the early work of the writers, David Hare and Howard Brenton, committed radical (if not revolutionary) socialists throughout the 1970s, it is a satirical attack on capitalist greed and corruption, full of savage, and often disturbing, humour.

The owner of a topless Sunset Strip go-go bar is unaware of his wife's affair with the hunky bartender and his girlfriend's plan to rob the club.

THE BLUE HOUR tells the story of Tanya, a young woman with a mysterious past who finds herself trapped in a sexual hell in Los Angeles. Punctuated by striking visuals and avant-garde editing, THE BLUE HOUR is a lost masterpiece of late period sexploitation.

In Granada TV’s 1974’s Starmaker, head Kink Ray Davies proved once again that he’s not like everybody else, producing a rock opera for television that tells the story of an insufferable, vain, egotistical rock star (played by Davies, naturally) who switches places with an “ordinary person” named Norman, working in Norman’s crappy job and living Norman’s crappy life to find inspiration for his next album. (Well, it’s a little more complicated than that…) Davies’ play reveled in breaking the fourth wall: cameras and microphones are visible throughout and the play’s author/star himself even ends up a member of the audience. Starmaker was a dry run for the themes of the Kinks’ 1975 album, The Kinks Present a Soap Opera.