Every year, in the Basilicata region of Southern Italy, an arboreal wedding is held to celebrate spring renewal. Here human and nature perform an ambiguous dance in order to reach heaven
An intimate VR experience that explores ’dis-ease’ within the body, through the lived experience of patients with breast cancer.
Meticulously crafted and developed in close collaboration with a team of scientists and researchers, this interactive experience tells the stories of patients’ healthcare struggles, with focus on breast cancer treatment. Audiences are led through a visual and sonic world that interweaves excerpts from survivors’ stories. It aims to invoke a more nuanced and holistic understanding of this sensitive topic.
Official Selection Venice Film Festival 2024 - Venice Immersive
Official Selection BFI London Film Festival 2024 - LFF Expanded
A musical drama about Justine and her mother, Tess.
A hospital CT scan reveals a lump in Tess's breast, prompting an emotional journey that challenges a mother and daughter's strained relationship.
Official Selection Toronto International Film Festival 2024 - World premiere
Following the audition, rehearsal, and performance of the central character in British pantomime, known as the ‘principal boy’. Traditionally a young male protagonist, the character is conventionally played by a woman in drag. Using and subverting traditional British pantomime conventions, PRINCIPAL BOY explores the presence and absence of trans and gender-nonconforming people in mainstream culture, including film and stage productions.
Official Selection Aesthetica Film Festival 2024
In 1998, two schoolgirls sent a letter to Iran's first-ever women’s newspaper. While they waited to be published, they considered making an impossible film.
Official Selection Locarno Film Festival 2024 - World premiere
Official Selection New York Film Festival 2024
Official Selection BFI London Film Festival 2024
A poor memory leads Gregor Petrikovi to make audio recordings of conversations with loved ones, friends, and acquaintances, and since 2016, he has been building an archive of anecdotes and recollections. With AI-generated visuals, SINCERELY, VICTOR PIKE combines these faceless voices in a patchwork to produce a collective memory around the semi-fictional figure Victor Pike.
Official Selection International Documentary Film Festival Amsterdam (IDFA) 2024
A young postman is tasked with sorting out lost post. Upon reading one opened letter, written by an author who claims to be an Angel from the future, the postman embarks upon a fantastical journey and attempts to get the letter to its intended destination.
The pace of technological progress in the physical world has stalled. WE MADE TELEPHONES converts mid-20th century propaganda and advertising into a personal, intergenerational exploration of how the ‘world of atoms’ fell apart—and how it might yet recover.
Bodies of water are intervened upon, moved, disrupted and exploited. Labouring bodies experience similar pressures from the same forces of power and extraction. Distant communities – Northern England and Jamaica – share similar histories of manipulation and oppression whose record is kept in the living memory of its waterways. But water, like people, can find a way to exert its own will.
Official Selection International Film Festival Rotterdam (IFFR) 2025 - World premiere
Plunging us into the ever-accelerating rhythm of food supply and the emergence of new techno-capitalist processes, BLISS POINT looks at the entanglement of automation and human labour, from dark kitchens and food advertising sets to AI-managed warehouses.
Official Selection Karlovy Vary International Film Festival 2024
Project video for ‘How (not) to get hit by a self-driving car’, a game installation that challenges people to cross the street without being detected by an AI.
Official Selection Ars Electronica Festival 2024 - S+T+ARTS Prize 2024, Honorary Mention
A work of speculative cinematic writing, the film is about war and displacement, architecture and place-making. It tells the fragmented biography of the so-called Rock Church, an iconic building in Helsinki and its architects who were excluded from the canon of Finnish modernism. The architects' personal history of displacement due to the Finnish Winter War of 1939 and Soviet occupation is braided with the war on present-day Gaza.
Past and present histories, temporalities and geographies fold into, and over one another collapsing time, place and identities narratively to consider, in the gentlest of tones, the impact of atrocities on contemporary lifeworlds.
