Projects in genres: Experimental

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Falling in love is hard in this powerful adaptation of Neil Hilborn's poem OCD. BAFTA Film Awards 2021 - Nomination - Best British Short Film

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1872: Lorenzo Lawrence walked an elephant south/until the name and walk were one,/noteworthy as the gentle beast himself, called/Maharajah…

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Ominous cinegrams of Albrecht Dürer’s 'Melencolia' print intercut, like cascading scythes, with depictions of a woman in a field, evoking repetitions that exist in harvest rituals, as well as in gestures of madness. Spectres of familial anxieties creep into this loose take on the myth of Poludnica (noonwraith or Lady Midday), a Slavic harvest spirit that could cause madness in those who wandered the fields alone.

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A chronicle of personal experiences taking place in the Negev desert in southern Israel. The film journeys through natural, industrial, and militarized landscapes as a disembodied voice-over weaves childhood memories, geology, ecology and politics into one narrative.

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The source clip is taken from a cult science fiction film where the world is literally turned on its side. The audio track is cut along with the moving image and superimposed 5 times reverberating speech and effects tracks.

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A b&w 16mm artists' essay film, drawn from the book ‘Republic Of Dogs / Republic Of Birds' by the poet Stephen Watts, exploring landscape, history, memory and the power of words to celebrate and resist. “For four decades, poet, translator and activist Stephen Watts has been the quietly urgent, profoundly committed voice of the marginalised and the overlooked, whether person or place. He understands that the true ethical centre that matters lies at the edge, whether in the pull of outpost islands or the common ground of migrant streets. Now he has found his collaborative equal in the engaged 16mm filmmaker Huw Wahl, who has translated the text of Watt’s book-length prose poem Republic Of Dogs / Republic Of Birds into a luminous feature-length documentary essay of remarkable beauty and spirited attention. THE REPUBLICS moves from the early 1980s to the present, and from London’s Isle of Dogs and Scotland’s Western Isles to the mountains of Northern Italy. It is one of the most impressive artists’ films of recent years, whose own poetry speaks as honestly and eloquently as that of the writer it portrays.” (Gareth Evans, Moving Image Curator, Whitechapel Gallery)

Synopsis

Takako Shirawa has spent the last 36 years creating an extraordinary day centre for autistic people in Abeno, Osaka. Nestling on a quiet neighbourhood corner, Atelier Corners began life as a family run sanctuary for local autistic children and has developed into a pioneering site of artistic experiment with its members becoming renowned artists, exhibited in Japan and worldwide. Award winning artist and filmmaker Richard Butchins (himself disabled) visited the centre with disabled dancer Kazuyo Morita and spent two years documenting and creating an award winning video installation about the artists and their home. This film shows the artists, the art and the woman that made it possible. It’s a testament to integration and the remarkable minds of the people that inhabit the building that is Atelier Corners. The film is part documentary and part artists’ moving image, a reflective and thoughtful account exploring the experience of disability in Japan, what is positive in the act of creation and the struggle against social exclusion, and how to foster and nurture the spirit of human life in a country that has traditionally excluded and hidden its disabled population from view.

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Desperately building against the inevitability of time, a restless young woman is awaiting another upcoming loss. But maybe more important things never seem to be told.

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A snapshot of an edgeland, Tilbury in Essex, during the months leading to the Brexit deadline in March 2019. The film moves back and forth between the individual, human-scale portraits of migration and the representation of the town’s economic activity.

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A double portrait of two women whose lives have been shaped by a shared passion for homemaking and hospitality. Over the course of the film we see Rosemary and Nancy in their cottage in Yorkshire, where they have settled in retirement. We hear them speak about the project they embarked on together, which saw them shelter and re-house over five hundred families in Massachusetts over a thirty year period, as well as providing a personal and historical context to their story.

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WHAT DOES WATER TASTE LIKE? questions the production of identity as it relates to the filmmaker's personal affiliations as a British-Nigerian. Prompted by intimate conversations, the film conjoins footage and voices of the past with their counterparts in the present-tense.

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A young male patient of a psychiatric hospital, witnesses the death of another Black male patient at the hands of white staff. Blurring the boundaries between fact and fiction, this work draws from real life cases of Black mentally ill men who have died as a result of excessive force.