The shadows of screams climb beyond the hills. It has happened before. But this will be the last time. The last few sense it, withdrawing deep into the forest. They cry out into the black, as the shadows pass away, into the ground.
A macabre experiment across documentary and horror. This film dives head first into the ritual and the darker dimensions of odd, English folk traditions - and improvised narrative in the ceremonial weirdness of bonfire night in Lewes, Sussex.
Bitten by a turtle in his childhood, a man remembers the effect that the scar has had on his love life. Following its protagonist's fragmented recollections through childhood, youth and old age, The Turtle Terminator conjures up a lifetime of romantic mishaps through unreliable memories, youthful enthusiasm and unbearable heartbreak.
Produced on six continents, and featuring a narrated poem over a plethora of visual effects and animations, with a dark purple color palette to represent the cataclysmic stain of mankind on the environment.
A film about psychosis and surveillance. A composite of fact and fiction, the film draws upon real-life accounts of a schizophrenic disorder: the belief that ones thoughts are being transmitted and heard by others. Set against the proliferation of mobile phone masts in the urban and rural landscape, the film reveals a fragmented inner world of paranoid delusions and acute anxiety, off-set by revelations of mass surveillance and data gathering by government security agencies. Filming locations include a psychiatric video recording studio, an abandoned broadcast television station and a military base used for mass communications monitoring and interception.
Part clinical observation, part psychological horror, the film is driven by a tense and dark electronic score by Lord Mongo, and interweaves the flickering detritus of analogue tape, monitors and studio cameras with layers of sampled archive voices; forming a picture of a psychotic state of mind, entangled in an interconnected world.
Official Selection Clermont-Ferrand International Short Film Festival 2017 - World premiere
‘Films to Break Projectors’ glues, scrapes and splices 35mm, 16mm, and super 8 film to create defective and unprojectable celluloid sculptures.
Hi-res scanning and digital stop motion reanimates the material and reveals its potential motion and colour music within, where traces of ambiguous narratives emerge from the complex loops.
Official Selection BFI London Film Festival 2017 - Experimenta Strand
HAUS ATLANTIS conjures a glittering sci-fi fairy tale from one of the stranger corners of Nazi Germany’s cultural history. Through voice-over, archival images, documentary footage and fictional scenes the film weaves together fragments of history and myth into a seductive fantasy, creating something new out of the old.
Based on Skype conversations with Gaza-based photographers, fixers and drivers who were behind specific images that were transmitted from screen to screen in the summer of 2014. The film probes the face of mourning and grief- its digital embodiment, transmission, and representation. It asks how the gaze gets channeled within the digital realm, and how empathy travels. Equally, how the documentary signifier - and its abstraction - operate when viewing suffering from behind one's LCD screen. What exactly is viewing suffering ‘at a distance’- and how many meters or kilometers is that? What is the behavior and political economy of the image of war? And who is the ‘local’ in the representation of war? (Oraib Toukan)
Official Selection Berlinale 2017 - Forum Expanded
Originating with research undertaken at the Irish Film Institute Irish Film Archive, artist Duncan Campbell’s piece takes as a starting point a 1960s anthropological film study of rural Kerry to investigate and reframe contemporary Ireland.
In this work Campbell looks at some of the assumptions, ethics and misconceptions that frame the relationship between filmmakers and subjects. The piece is underpinned by extensive research into archival and documentary material, including Paul Hockings and Mark McCarty’s 1968 documentary film, 'The Village', alongside influential anthropological studies. As with much of Campbell’s work, this piece questions the validity of documentary form as historical representation, blurring fact and fiction, recording and interpretation.
Official Selection BFI London Film Festival 2017 - Experimenta Strand
“I was hungry for the coast again and took a bus down along the R675, getting off to walk a while between Annestown and Dungarvan. The cliffs are imperious here and look just like home…” A Cornishman’s travels in Ireland, through Wexford, Waterford and Cork in search of the familiar.
