1973. Married couple, Daphne and Darcy Davenport, are two musicians who moved from London to a cottage in Wales to complete their new album. Here, a strange child enters their lives. By accident they record a mystical sound never heard before and gradually disconnect from reality.
Official Selection Sundance Film Festival 2025 - World premiere
Struggling to process the sudden and unexpected death of his wife, a young father’s hold on reality crumbles as a seemingly malign presence begins to stalk him from the shadowy recesses of the apartment he shares with his two young sons. What begins as a terrifying haunting, evolves into a battle of wills between a grieving family and their uninvited, unpredictable house-guest and tormentor; a man-like Crow, seemingly brought to life from the pages of Dad’s work as an illustrator.
Based on the award-winning novel 'Grief Is the Thing With Feathers' by Max Porter.
Official Selection Sundance Film Festival 2025 - World premiere
Official Selection Berlin International Film Festival 2025 - European premiere
Official Selection Karlovy Vary International Film Festival 2025
Official Selection BFI London Film Festival 2025
Flesh as film, and film as flesh... An amateur archaeologist arrives on a desolate peatland in Lancashire, their mind filled with the strange power that peat-bog waters hold to preserve organic matter. They have come to excavate the peatland. They have come to exhume a body. But, in digging into the peat - and into the past - they unearth much more than mere relics. The peat holds forgotten histories, uneasy truths, and vast stores of climate-change-accelerating carbon. Reflecting the attempt to document and preserve this landscape via the moving image, the film becomes both a lament and a call to action for local peat-bog restoration and protection. A queer eco-horror which reflects on what it means to bury, to archive, to capture, to unearth. Shot in collaboration with the Lancashire Wildlife Trust, the film becomes both a lament and call to action for local peat-bog conservation.
Official Selection London Short Film Festival 2025
Aiden, a widowed robotics expert channels the grief of losing his ten year-old son into creating ‘Robin’, a fully functioning robotic doll. It finally seems he has found someone to keep him company in his lofty mansion.
Aiden’s estranged nephew and his fiancé unexpectedly return to the manor hoping to patch up the family's rocky past before their big day. The loved-up pair are instantly creeped out by the lonely man’s staggeringly realistic creation.
A series of terrifying events leave the young couple suspecting there's a more sinister side to Robin that even Aiden is aware of.
Dublin 1985. Teenager Billy is cultivating an obsession: he’s tracking down VHS tapes of films branded 'Video Nasties' – The video nasty ruckus was fuelled in the early days of home video by conservative activist Mary Whitehouse, concerned about the harmful influence of certain horror films deemed 'extreme'.
Official Selection Rotterdam International Film Festival (IFFR) 2025
A musician is invited to perform at a remote arctic research outpost for the resident scientists, an unwelcoming world which tests her resolve but expands her audience beyond the atmosphere.
Official Selection London Short Film Festival 2025
Official Selection Frameline Film Festiva 2025
Official Selection Palm Springs Shortfest 2025
A moving image artwork exploring zones of momentary overlap between seemingly opposing elements.
The "interface" concept here is fluid and multifaceted; an interface, whether in software, digital screens, or one’s language or body, is a site of entanglement and movement. How the interface manifests and the supposed borders it enacts are recalibrated with every connection that is made. It’s a place of transience with its own set of rules and oscillating perspectives that only make sense within the shifting internal logic of the borderlands.
The work explores how these dynamic zones can reshape entrenched perspectives. It questions "where images end and bodies begin, where truth or the real might reside,"[*] and where the boundary between spectator and screen dissolves into “life.” Such interfaces function as special conduits to the virtual, positioning the body as a node of mediation in our techno-political landscape. They also reveal what is created or lost in cross-cultural interactions; miscalculations, strange pairings and redundancy live within the hybridity zones of Border and Interface.
*From Deborah Levitt’s ‘The Animatic Apparatus’.
Official Selection BFI London Film Festival 2025
In a world where everyone has a partner, a woman from the secluded society of rejected singles, known as the Leftovers, takes a bold leap of faith on a revolutionary new dating app, risking everything for one last chance at love.
In an isolated religious community ruled by men the Pastor’s daughter, Magpie, murders her abusive husband. In the process, she unleashes a malevolent force – a Beast with shimmering white eyes and a taste for foul men.
Suspicion and paranoia grip the community, and accusations are thrown at Magpie. The Pastor is unable to bring her back into ‘The Truth’, as the Beast’s allure takes its hold over her. When the Beast leaves a trail of gruesome carnage, a brutal witch hunt begins and the community spirals into darkness.
The film is set in a future where prejudice has forced mixed-species families of AI and humans to flee their homes. It centres around the daughter who tries to reunite with her father by breaking down the barrier that separates them.
