On the Isle of Sheppey, two boys try to enjoy a last day together. Their adventures are captured by Gabriel, who has cerebral palsy, on an old camera. But as the day goes on, fears about the future cloud their friendship.
This film delves into the intricate interplay between screen media, disability representation, and the uncanny within the horror genre. Focused on the convergence of cultural influences, it explores how disabled bodies are employed as elements of fear in the realm of analog horror, residing in the unsettling space between robotics and humanity known as the Uncanny Valley. The paper investigates the nuanced ways in which robotics mimic human aesthetics, creating an eerie yet captivating experience for audiences. Furthermore, the research scrutinises the manipulation of sound conventions in horror media, specifically inverting preconceived auditory expectations to induce fear. This examination contributes to our understanding of the profound impact sound has on audience perception and emotional engagement in horror narratives.The study also addresses the sonically codified representation of disability through the lens of the Medical Model. By scrutinising instances where sound either goes awry or is deliberately absent, the paper explores how such deviations from auditory norms contribute to the perception of disability as 'wrong' or ‘disturbing.'. This sonic dissonance between expectation and reality serves to reinforce societal biases and ingrained perceptions associated with disability, offering a unique perspective on the intersection of horror, technology, and disability studies.
Cam is a techno-hermit, conducting life from his electronically automated smart-home. Work, shopping, entertainment and most notably: socialising. Cam interacts with strangers on the platform Hello Stranger: a randomised video chatting website. Eventually, he encounters a masked stranger with an altered voice. Unnerved, Cam leaves the call only to find the stranger has hacked his smart-home and locked him in. The stranger tells Cam that he must win three rounds of games or it is ‘game over’. Viewers must make decisions and play the 3 games in order for Cam to survive but one wrong choice could lead to a grisly end.
An emotional documentary that looks at the lives of three Ukrainian refugees who now live in the UK, Brazil and Germany respectively. Each share their stories of escape from Russian occupation, and the hardships they've experienced whilst assimilating to new cultures as they rebuild their lives.
An experimental collage film that uses a range of animation techniques to explore the story of migration and enterprise, told through the changing face of Britain’s high street. The film combines stop-motion with digital techniques and manipulated photographic cut-outs, creating continuous transition between past and present.
Official Selection Ottawa International Animation Festival 2024 - Official Competition
Official Selection Aesthetica Film Festival 2024 - Official Competition
A journey of a woman overcoming fear of not being accepted: from her desire to correspond to societal standards to finally accepting that she is ‘not normal’ and that the only acceptance she needs is the self-acceptance.
A recovering sex addict sits on the edge of a beach car park, looking to cruise. While on an addiction helpline, and with a husband patiently waiting at home, one last temptation pulls him deep into a surreal psychosis. Deeper into the sand dunes. Deeper into himself.
Official Selection BFI London Film Festival 2024
During the 1950s, Ireland had the highest rate of psychiatric hospital use globally. Using archival documents, filmmakers Cáit McClay and Éiméar McClay look critically at the evolution of Irish psychiatric institutions across the 20th century, examining the confluence of carceral, therapeutic and socioeconomic incentives that determined their influence.
Official Selection Rotterdam International Film Festival (IFFR) 2025 - World premiere
Different forms of communication are explored when a filmmaker attempts to find the name of a dead person they discovered behind their flat in Glasgow.
After preparing for her first night of motherhood in the postnatal ward bathroom, Thea rushes to soothe her crying baby. But when Mother interrupts Thea’s moment of maternal bliss and claims that the baby latched onto her breast is her own, Thea is forced to admit her mistake.
A frustrated couple in their 50s resorts to employing a sex robot as a final attempt to salvage their crumbling marriage, unwittingly uncovering the very fractures that damaged it in the first place.
Historical Fact and Historical Fantasy collide… This film observes the coming inauguration of millionaire landowner Mike Buchanan, the newly confirmed Buchanan Clan Highland Chief, his wife Lady Paula, and teenage family - the first in 300 years. Join the film in real ‘Outlander’ style as the Buchanans travel to a Highland Games in America, then attract tartan enthusiasts from around the world to Scotland, drawn by the power of connection. For one, Mexican Pedro Buchanan, and two American sisters, feelings of the ‘motherland’ are stirred.
Mike’s ambitious wife Paula is planning the inaugural three-day bonanza of tartan, and ceremonial regalia on their magnificent estate. She was the driving force behind Mike’s claim to the title and is now the chief architect of his ‘coronation’ (well, much of it, when an ancient source can’t be found). Ceremony and ritual are unashamedly being invented.
A hidden world of British wealth and privilege unfolds as the family, uncover and invent fresh entitlements the new role brings.. revealing not only whether they can pull off this massive event, but also how History is made, and who makes it, raising important questions around class, national identity, history values and traditions, and the place of ‘Clans’ in the modern world.
