Danielle is Eris; goddess of Strife in the Greek pantheon. She is a foster child, teen mother, victim of violence at home and from the state. This is a portrait of a life currently being lived. This film examines the nature of Strife in 21st century Britain.
Colin, a man beaten by failures, is forced to face his fears when they appear to him as variations of himself. In a tense, drug-fueled crisis of confidence, will he come through it a stronger man, or will his demons get the better of him?
Grandmother is a Crab borrows from an earlier digital video, made fifteen years ago, that itself used footage captured from a travel advertisement on television. Black and white, and mirror effects, take the image out of time, giving it both vividness and distance. The music is played in reverse. And the voice-over and under-titles are a poem that re-enters the magic world of a child on a beach.
I bought a scrapbook collection of one woman’s Birthday cards from a house clearance shop a few years ago. She had only kept the cards from her children and grandchildren. It cost me £ 1.99.
The cards chronicle her life through changing design/slogans and written messages. I’ve bought things like this before and they just fill up my shelves.
A poetry film festival kick-started me into making a film using the scrapbook. I looked for a poem to base the cards around but couldn’t find anything suitable, so I tried to write my own.
The silent personal archive of deceased filmmaker Terra Miller is laid out against all that remains of one of Miller’s final pieces, an acerbic audio recording of Isabella Berretta, founder of organisation The Fire Brigade. The youngest member of this organisation, Terra’s brother Jaric, whose movements appear to cross time and space in the archive, becomes the physical narrator to Berretta’s vocal presence, at times in synergy, at others in conflict with each other.
THE SEPARATION LINE exposes a British border shared by hundreds of civilians and members of the Armed Forces. Between 2007 and 2011 the small English market town of Wootton Bassett became the site for the British repatriation ceremonies and during an eighteen-month period between February 2010 and August 2011 all the repatriation ceremonies that passed through the town from 2010 to 2011, including the concluding ceremony in August 2011 were filmed. Filming alternative aspects and perspectives to that of documentaries and regular media coverage, the work shares an experience of the repatriations that has not been presented nationally or internationally.
A woman recalls her sexual experiences that have brought her to this point in being, from disappointing sexual encounters in later life to her early childhood and the neglect she suspected her mother of. We are brought into her world of reminiscence and realisation.
On Landguard Point is a film about home created by Suffolk raised Robert Pacitti - founder of the award winning SPILL Festival of Performance and maker and curator of performance art for over 20 years - with original music by Michael Nyman.
Set entirely in the East of England and built through poetry, performance and slips of story. Woven together these forms accumulate ideas around what home means. The film is about trade: what it means to produce and export, or import from elsewhere. It is also then a film about migration, identity and defence. These themes underpin every element of the film and offer up multiple layers of resonance and meaning.
The film is carried by two other voices. The first, our narrator, initially sets the scene before falling into his own poetic visions and daydream. The second is a family of scrolling red LED text boxes, stood in the sea and beginning: HERE IS A MAP…
On Landguard Point features work by internationally acclaimed artists such as Julia Bardsley, Rajni Shah, Kira O’Reilly, Harminder Judge and Mark Peter Wright.
Three mythical stories from the island nation of Vanuatu, South Pacific, concerning the origin of humans, why pigs walk on all fours, and why a volcano sits where it does.
‘It is only shallow people who do not judge by appearances’ wrote Oscar Wilde. LAY BARE is a composite portrait of the body, revealing it as it is only rarely seen in the most intimate relationships we have with our family or lovers - erotic and comic, beautiful and vulnerable.
![Life [Anonymous]](/storage/project/images/films/2013/06/LA_PRODUCTION_STILL__1367959992880_8109a857100_thumb.jpg)
