If you're a fan of Red Road, and were itching for the next part of the trilogy, I'm sorry to say that this isn't it. (Is the trilogy plan even continuing?!) It is, however, the second feature for the film's director, Andrea Arnold. Variety reports that Artificial Eye has pre-bought the UK rights to her next film, Fish Tank.

Unfortunately, the piece then goes on to talk about Eye's other projects and executive info, rather than the film. So, we've got this mysterious second picture. However, thanks to the Internet, I can fill in a tiny hole at least. According to MoveThat.com, Arnold was/is looking for her female lead for the film. "We're looking for young looking, white 16-19 year old girls who speak with strong London/South East accents who have attitude and who can street dance. Female breakers, poppers, lockers, and krumpers all very welcome."

UK readers out there, you'll have to fill us North American folk in on the slang, but I think it's safe to say that this is going to be some girl-headed film about dancing. Unfortunately, because of the language request, it'll probably also have really annoying English subtitles that don't match up with the words like Red Road.

That's all Google is allowing me to find right now, but please comment below if you've heard anything else about this feature.

Late in Red Road, a man and a woman are alone, late at night on the 24th floor of the council flat buildings found on the street that gives the film its name. All you can see from the window is the bruise-yellow glare of the streetlights and the grey of concrete and urban sprawl. You don't see nature, but you hear it -- the high, shrieking barks of the local fox population eking out survival in the hollows between the concrete. It's a keening, sad sound -- the instincts of wild beings constrained by the structure of the modern world -- and it's hard to tell if the foxes are crying out in defiance or in agony. The same could be asked of the man and woman listening.

In Glasgow, Jackie (Kate Dickie) works at the city's central CCTV station -- watching and monitoring the streets of the city and the lives of its citizens. She watches dispassionately; if anything of interest happens, she calls it in to the appropriate city service, dispatching an ambulance or summoning police as needed. It's a data-processing job, and she seems to do it well. But one day one of her many screens shows someone familiar, and that spurs her to a different kind of reaction: not professional, but personal. In time, Jackie's relationship to the man, Clyde (Tony Curran), becomes understood, but it hardly becomes clear.