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Halley’s Comet returns to the solar system and the English/American team aboard the shuttle “Churchill”, making a close-up survey of the comet, discovers an alien spacecraft in the head of the comet. Inside the spacecraft are some large bat-like creatures and in three cocoons are three “dead” humans - two men and a woman. The “Churchill” takes the humans and a creature back to Earth. There the bosses of the project are amazed to find the shuttle burnt out and all but one of the crew - Carlsen - dead. The humans from the spacecraft suddenly awake and all those who come into contact with them are drained of their “lifeforce” and in time all the victims - including most of the population of London - are turned into zombies all praying on the horrified survivors for their “lifeforce”. It’s up to Carlsen and Major Caine of the SAS to stop them before the whole world turns into a big blood-hunt…

Orlando, a man of ideal nobility starts his search for love, poetry, a place in society and a meaning in life, in and around the court of historical England in the late 16th century. The blessing of eternal life from Queen Elizabeth I enables him a long and deep philosophical quest, accompanied by the features of “noble” English life with a good taste for irony. Both sides of the coin are shown when Orlando, partly fed up and disgusted with how men think and act, returns from his ambassadorship in the Far East as exactly the same person, let alone his sex. Orlando, a woman of ideal nobility continues her journey to realize the truth about life, love, and approaching one’s own sex in the late 18th century England. For one who lived four hundred years and haven’t aged a day, finding humanity’s forgotten need for androgynity as the key to the happiness of her own as well as her daughter’s. Sally Potter’s adaptation of Virginia Woolf’s Orlando not only tells the story on film with brilliant visual design, but also tries to extend the plot as Woolf would have, had she lived to the end of the twentieth century.