Ampersand, 1978, re-purposes clips from a 1974 film I never completed. In Specto they are re-purposed again. The hot tungsten filament of a Specto film projector is a recurring image, along with re-worked clips of a troupe of actors performing Artaud’s Jet of Blood at locations in the city of Lincoln. You’ll see the cathedral and a dilapidated mill with UNSAFE 74 painted on its wall.
Two artists navigate the unspoken tensions of shared space, ambition and gendered balances of power. Amid a cavernous studio that contrasts the minutiae of their concerns, the film captures moments of stilted dialogue and abstractly manipulated footage, building a sterile, heightened atmosphere.
In a world where art and reality collide, Miho’s vivid dreams reveal the cosmic force of the Architecture, uniting her with artists across the globe in a desperate battle to heal the universe.
A 16mm sound and image experimental portrait of d/Deaf DJ Simon Eilbeck and the Queer, Trans, alternative and non-binary communities who gather at his monthly disco Hot Mess.
"The Sight is a Wound" confronts the impossibility of image-making in the face of genocide. Through the burning of over 50 paintings, the film interrogates the ethical failure of aesthetics, where witnessing collapses into complicity. It is an act of refusal—excavating absence, exhaustion, and the limits of representation.
Centred on sphagnum moss, TRANSLOCATIONS highlights the mutual aid and reciprocal exchange that exists between species in the restoration of a lowland peatbog. Featuring the voice of botanist and author Robin Wall Kimmerer, and a tactile soundtrack score, the film documents the human and more-than-human life, energies and actions that are transforming an intensively farmed and damaged terrestrial environment back into a flourishing wetland habitat. The film is structured around volunteers moving ('translocating') gathered balls of sphagnum moss from replete to deplete areas of the bog, enabling a keystone species in peat formation and carbon sequestration to thrive and rejuvenate a vital part of the biosphere.
Exploring the luminous and vivid characteristics of this rewilded, transitional terrain, the film depicts the abundance of re-introduced sphagnum moss and the dynamic mosaic of co-dependent species that are now thriving both above and below the surface of the bog, from flowering cotton grasses and carnivorous sundews to dragonflies and silk-moths.
Local boy, Peter, is trying to find the source of the metallic sound that haunts the village. When he shares his footage with an old woman it sparks memories of a bear that roamed the hills during her childhood.
Official Selection Clermont-Ferrand International Short Film Festival 2025
Official Selection Telluride Film Festival 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
An emergent Artificial General Intelligence communes with her human progenitors through the uncanny persona of Melania Trump. Melania traverses deep time and space, encountering - among many others - a Supreme Being who looks a lot like Anna Wintour.
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.
An experimental film that recreates the experiences of dementia through spoken word, documentary, dramatic reconstruction, and never-before-seen deteriorated archival footage: 16mm films from the 1930s to the 1960s, featuring major historical events and world travel. THE MEMORY BOOM is framed from inside the mind of Pops, a hospitalised grandfather with severe dementia. The decayed footage serves as a visual exploration of Pops' memories.
Pops' grandson narrates from his bedside, attempting to preserve Pops' memories while struggling to comprehend memory loss. Pops' confused thoughts rise to the surface, and he shares them with his grandson as if it were 'storytime' leading him down rivulets of muddled tales and garbled memories spanning his lifetime. Pops' Filipina nurse supports the grandson, sharing her inability to care for her own dementia-affected father in the Philippines. The film charts the trio's journeys through emotional turmoil, leading to a deeper understanding of the nuances of memory.
THE MEMORY BOOM was created with documentary participants from community groups across rural England and features anonymously donated archival materials, courtesy of Exeter Phoenix. The film was made in memory of the filmmakers’ relatives who lived with dementia, and explores memory preservation and photographic consent.
Official Selection PÖFF - Tallinn Black Nights Film Festival 2024 - World premiere
After a terrorist bombing, junior intelligence officer Helena Brennan is tasked with gathering information about a radical Muslim cleric - the notorious and elusive al Sharif. On travelling to Pakistan, Helena becomes involved in a botched mission to capture one of al Sharif’s key lieutenants. One of her colleagues is murdered, and the other is kidnapped and later executed, as Helena’s world disintegrates around her. She must hunt down the perpetrators to find redemption.
That’s the story. But the film doesn’t show you how the story unfolds. Instead, you encounter its characters alone in a black void, staring into the camera’s lens. Their faces are the film’s landscapes. They report on the lives they are forced to live and the harrowing world that we’ve imagined for them. THE VIEW FROM ABOVE is a film that asks spectators to confront the brutal, misogynist and white-supremacist ideologies of the stories we consume as entertainment. It seeks to reveal the role that so many contemporary thrillers force audiences to play and invites them to regret learning their lines.
