In some not-too-distant future, in the midst of an election campaign to determine who will govern a newly independent Northern Ireland, a murder takes place. Dan Starkey (Thewlis), a cynical journalist, meets a woman named Margaret (Fraser) in the park. In the morning after their one-night stand, Starkey returns to Margaret's flat to find her with fatal gunshot wounds. Her last words, which will prove a vital clue to the identity of her killer, are 'Divorcing Jack'

Starkey, in classic thriller tradition, goes on the run as the prime suspect in Margaret's killing. He is pursued by the police and the murderers and his only hope is to solve the mystery himself. The search for the truth ranges from the low-lifes of the underworld to those who hope to gain power in the forthcoming election. The film develops into a black comedy/political thriller, with enough plot twists to satisfy the most avid mystery devotee.

Although the situation in Northern Ireland may seem an unlikely setting for comedy, David Caffrey's first film pulls it off admirably with stylish writing and direction. The humour is as hard-bitten as the characters, with bitter anger and resentment never far below the surface. Although inevitable comparisons have been made to Hitchcock and The 39 Steps, this film has a freshness and originality all its own.

Citizen Kane is now more of a legend than a film. It has been copied, parodied, satirised and referenced in film and television for years. There is a whole mythology about how this movie was made and the attempts by newpaper magnate William Randolph Hearst (the man who 'was' Citizen Kane) to destroy it and Welles once the film was finished. Viewed through eyes now accustomed to the technical capabilities of modern film-making; Citizen Kane may seem a beautifully filmed but ultimately rather ordinary little B&W movie.
However at the time of its first showing, director Orson Welles was credited with creating a totally new style of cinema. Many film-makers before him had created distinctive movies which explored the medium in a wondrous variety of ways, but Welles was the first director to be given such complete control over production by the studios and he was also the last director able to enjoy it [There's always someone who has to spoil it for the rest of us - Ed.]. Never again was even Welles himself allowed the complete creative freedom-casting, story, direction, editing-that he had for this film and the really astounding thing is Hollywood gave him this power for his very first film and he was only in his twenties. Welles enjoyed and used his control to its limits. He chose a controversial subject-the 'fictional' life story of one of the most powerful men in America-and he chose to film it warts and all. He also used the narrative, camera, staging, sound and editing in ways which had never been considered before. Welles was truly experimental. He even had his camera man drag certain sections of the rushes, depicting some news reels, over gravel in order to give it an 'authentic' scratched appearance. If you have not seen this film, watch for the sound and film editing-it is masterful. Enjoy seeing where all those references are from and if you are an old fan of Welles' sit back and enjoy the finest film made by this cinematic master.