A-FP Premium

Anarcho-Film Productions [A-FP] was formed in August 2009, for the purposes of developing, producing and distributing high quality independent feature films and media content, using the anarcho-filmmaking strategies we developed to take advantage of the Digital Revolution.

A-FP took its international bow at the Cannes Market in May 2015, where our first film, The Great British Mortgage Swindle [TGBMS], was launched. The hard-hitting feature went on to become one of the highest rated British documentaries on Amazon Prime, following a limited UK theatrical release. In 2025, A-FP will release Kim Bodnia's long-awaited English language feature film debut, Nefarious.

In the wake of the US sub-prime mortgage crisis, the UK housing market collapsed, the reality of which was much more shocking that the public ever imagined.

Insolvent banks were lending money they didn't have; mortgage fraud had been common practice for decades; conveyancing solicitors were giving illegal advice; whilst the police were violently enforcing the selective application of the law.

Then, when all seemed lost, a call to action rallied thousands from all over Britain, in support of the mavericks who took on the might of the banks, armed with nothing except the facts.

With the invaluable assistance of award-winning design sales and marketing company, Coffee & Cigarettes, TGBMS was finally completed in October 2018 and was released in the UK on 10/11/2018.

The film was distributed at Savoy, Odeon and Vue cinemas via our Cinema-on-Demand model, as well as being released on DVD and all the major digital platforms by A-FP and UK distributor, 101 Films.

After gaining more than two hundred 5 star reviews, The Great British Mortgage Swindle was one of the the highest rated independent British films released on Amazon.co.uk in 2019.

Watch TGBMS On Amazon Prime

After twenty years of marriage, Europe’s #1 quality coke importer, Michael Elkiar (Kim Bodnia), is having marriage problems. When his eighteen year old son, Marcus, leaves for university, his wife Tonia (Alwein Tulner) questions whether to stay in the relationship.

Struggling with a mid-life crisis, Elkiar’s feeling of worthlessness are magnified by a burgeoning social drug habit. When faced with losing everything he cherishes, he reluctantly agrees to retire from ‘the business’ to save his marriage. But getting out of the business is easier said than done, especially when you’re the boss.

Dope-dealing outlaws, Lez & Billy (Conor Woodman & Spek), are the endearingly vulnerable, lovable rogues who embark on a psychedelic adventure that sees their lives spiral dangerously out of control, as they are consumed by the dog-eat-dog world of international cocaine smuggling.

In a fast-moving, exciting climax imbued with dramatic irony and the inevitability of consequence, the shades of grey between good and evil are positively enlightened by the transcendental nature of true friendship and romantic tragedy.

Michael O'Bernicia'sNefariousarrives two decades after its capture on digital video, emerging from the vaults like a time capsule of pre-financial crisis anxieties. Shot for £17,000 across seventeen non-consecutive days in 2005, this Anglo-Dutch road thriller transforms budgetary constraint into visual poetry. The grain of early digital video, once a limitation, now functions as aesthetic armor, lending the proceedings a documentary urgency that recalls the Dogme 95 movement while anticipating Nicolas Winding Refn's neon-noir sensibilities.

"At its center, Kim Bodnia—stepping into shoes originally fitted for Christopher Walken—delivers a masterclass in criminal ennui as Michael Elkiar, Europe's premier cocaine importer facing existential dissolution. Bodnia inverts his Pushermenace into something more insidious: bourgeois malaise. His Elkiar is Camus's Meursault reimagined as a suburban drug lord, mechanically maintaining empire while his soul quietly hemorrhages. The parallel narrative of small-time dealers Lez and Billy (Conor Woodman and Spek) functions as both cautionary tale and nostalgic elegy, their Amsterdam coffeeshop dreams spiraling into hallucinogenic tragedy that mirrors Elkiar's domestic collapse.

O'Bernicia's screenplay excavates drug prohibition's hypocrisies with surgical precision, constructing a universe where karma operates as inexorably as market forces. The handheld Amsterdam sequences evokeRun Lola Run's anarchic energy filtered through Antonioni's existential dread, while the climactic showdown at Cowgreen Reservoir transforms British countryside into Greek tragedy. What elevates this beyond genre exercise is its profound empathy for characters trapped within systems of their own making—Elkiar's marital crisis unfolds with Bergmanesque devastation while Lez and Billy's doomed friendship channelsWithnail and Ifor the MDMA generation.

The film's treatment of masculinity feels particularly prescient: men undone not by external forces but by emotional inarticulacy, finding expression only through violence and intoxication. O'Bernicia stages their unraveling with the tonal complexity of Mike Hodges'sGet Carter, mixing dark comedy with genuine pathos. The remastered soundtrack adds temporal vertigo, its contemporary landscape clashing productively with mid-2000s digital aesthetics to create a dreamlike meditation on time's circular nature.

Nefarious emerges as that rarest creature: genuinely independent cinema using limitation as liberation. Its twenty-year gestation has transformed zeitgeist capture into universal meditation—a Sisyphean exploration of survival's price in a world where everything, including redemption, is commodified. The final image, pregnant with dramatic irony, suggests there are no clean exits in the economy of crime, only varying degrees of collateral damage. O'Bernicia has delivered a retro-cult classic that feels both utterly of its time and urgently contemporary."

Planet Cinema

The Three Faced Terrorist is hard hitting documentary about the Christchurch mosque shootings, which allegedly took place on the 15th of March 2019 and led to a series of government acts which severely curtailed the unalienable rights that were previously guaranteed by the New Zealand constitution.

Within days of the seemingly horrifying series of events that took place at Al Noor Mosque and Linwood Islamic Centre in Christchurch Jacinda Ardern's government had criminalized every weapon that was featured in a purported Facebook livestream of the attacks, as well passing a statute which censored the video and other related content, creating a maximum prison sentence for Kiwi citizens of ten years in prison just for watching it in the privacy of their own homes.

Spring 2025 sees the launch of A-FP Media Group's brand new distribution platform, A-FP PREMIUM, which aims to provide producers and film lovers alike an experience which simply wasn't possible until now.

Twenty years ago, the entire film industry was nervously anticipating the devastating effect that the Digital Revolution would go on to have upon the ability of producers to raise production finance, which in 2005 was still almost entirely dependent upon projected DVD revenues and distribution pre-sales.

When the DVD market crumbled to dust at the end of that decade, it became ten times harder to get a film made, to make a profit or break even, in the fortunate event a movie did find distribution, than it was before free platforms like YouTube killed the Home Video star.

Nevertheless, A-FP emerged from that revolution as a Virtual Film Studio, which specialises in the development, production, sales, distribution and marketing of critically-acclaimed, award-winning content by variously censored, dissident and underground voices.

We are already being offered high quality completed films from all over the world, which A-FP has the capability to distribute worldwide via A-FP Premium on VOD, SVOD, DVD and in selected cinemas, in addition we offer producers something they all need - a realistic and fair way to break even and return a net profit, without getting ripped off with inflated costs, unjustified distribution fees and a percentage split that doesn't benefit the producer.