A Cleaner works for clients she never sees in houses that don't need to be cleaned.
A dark poetic film which deals with the isolation and monotony of domestic work. Hearing and feeling things that may not exist, her thoughts are concealed from her employers and the world.
Claude Cahun’s iconic photograph ‘Don’t Kiss Me/In Training’ was inspiration for a two line poem, a fractured couplet revealed and hidden throughout this piece about intimacy, tactility and the projected theatre of how it feels to be together.
A game involving dressing up, repeated, with love. Training for feeling.
In an insular all-boys private school a student is in search for a connection to the 'real' world and has developed a particular interest in Internet sites with user-generated videos.
"If you go down to the woods today you're sure of a big surprise. If you go down to the woods today, you'd better go in disguise..."
An experimental reimagining of Little Red Riding Hood, this visual collage combines elements of fairytales and horror to reveal something unexpected lurking in the forest.
In 1963 a young woman was possessed by a demon claiming to be the Devil, a local priest was requested by the girl’s mother to perform an Exorcism. No one knows what became of them.
50 years later a group of filmmakers attempt to recreate the Exorcism but they are not prepared for the horror they will encounter. Captured on behind the scenes camera we the audience are now able to see these disturbing and unexplained events leading to the film crew’s final hour.
From an unusual perspective, we follow Philip around his neighbourhood in Hackney, East London. He is unstable and misses his wife and daughter very much.
"A polyphonic meditation on time and urban space" (Sukhdev Sandhu, BFI 2012).
"If you let it, a street will grow" says a voice in this film-poem which offers a lyrical, painterly defence of the everyday and a celebration of multiculturalism, even as it poses questions about the process of regeneration.
Shot on location in the London Borough of Hackney, the film interweaves rarely seen archive, super 16mm and super 8mm photography. Slow, still shots of streets, parks, cemeteries and markets are juxtaposed with the East London paintings of Leon Kossoff, Jock McFadyen and James MacKinnon.
With a script based on poet, Michael Rosen's play for voices, a heightened soundscape mixes documentary with poetry, music, song and location recordings. As we slip between past and present, real and imagined, famous and unknown "the world comes to Hackney": From Shakespeare in Shoreditch, to a Jamaican builder, from an 18th Century feminist abolitionist to a Turkish barber, from Anna Sewell's "Black Beauty" to the Jewish 43 Group taking on Oswald Mosley in Dalston, the audience is invited to apprehend the city as fragmentary and multi-layered, "past in the present, present in the past."
did I? explores amnesia and the devastation of severe memory loss through a series of abstract visual sequences. The work combines live action footage with hand drawn and 3D animation to evoke a sense of the fragmentary and disordered recollections of an amnesiac.
