When a Palestinian filmmaker based in Scotland unearths a rarely-seen Scottish film archive of Palestinian wild flowers, he decides to reclaim the footage. This tender essay film questions the role of image-making as a tool of both testimony and violence when connected to entanglements between people and land.
Official Selection Edinburgh International Film Festival 2024 - World premiere
Official Selection Sundance Film Festival 2025 - International premiere
Sundance Film Festival 2025 - Winner - Short Film Grand Jury Prize
I-Ling’s experience whilst taking her 'Life in the UK' test reminds her of the difficulties and constraints she faces as an immigrant working hard to get her citizenship.
A young postman is tasked with sorting out lost post. Upon reading one opened letter, written by an author who claims to be an Angel from the future, the postman embarks upon a fantastical journey and attempts to get the letter to its intended destination.
The pace of technological progress in the physical world has stalled. WE MADE TELEPHONES converts mid-20th century propaganda and advertising into a personal, intergenerational exploration of how the ‘world of atoms’ fell apart—and how it might yet recover.
Satinder Aujla, the UK Conservative government’s new foreign secretary, holds a press junket. Her internalised racism defends fascist policies as British values. We realise she has forgotten her heritage in exchange for power.
Official Selection Tasveer Film Festival 2024
Sion, a traumatised ex-squaddie kills and eats a local drug dealer for their protein. Compelled to kill again he sends shockwaves through the local criminal underworld and inadvertently sparks a brutal and bloodthirsty tit-for-tat turf war between rival gangs. Soon the bloody events set Sion on an unlikely road to redemption.
Official Selection FrightFest 2024 - European premiere
In POISON we encounter a man (Lucas) and a woman (Edith) who are seeing each other again for the first time in ten years at the cemetery where their only child is buried. They're meeting after many years apart - the body of their son Jacob needs to be exhumed because toxins have seeped into the ground. We follow them over the course of an afternoon, while they wait for their meeting with the cemetery's caretaker - who never turns up. During the course of the afternoon, both Edith and Lucas drop their masks, and secrets are revealed. Lucas has remarried, his new wife is pregnant and he is writing a book about the loss of his son. Edith has never been able to move on despite doing her best to pretend to. It slowly becomes clear that their whole meeting is based on one big lie. Edith fabricated the event to lure Lucas into meeting her after all these years, without knowing what it is exactly that she is looking for. It’s not until Edith and Lucas have exposed their vulnerabilities to each other that they are able to let each other go, and each go their own way.
Official Selection Munich International Film Festival 2024 - World premiere
Official Selection Galway Film Fleadh 2024
After a tremendous loss, Robin tends to her tropical garden. When a familiar visitor unexpectedly interrupts her peace. Drudging the painful past back with him, he threatens to expose the fragile facade Robin has painstakingly grown, forcing her to confront the pain she so desperately sought to escape.
Bodies of water are intervened upon, moved, disrupted and exploited. Labouring bodies experience similar pressures from the same forces of power and extraction. Distant communities – Northern England and Jamaica – share similar histories of manipulation and oppression whose record is kept in the living memory of its waterways. But water, like people, can find a way to exert its own will.
Official Selection International Film Festival Rotterdam (IFFR) 2025 - World premiere
In the heart of Nepal, nestled amid majestic landscapes and ancient traditions, lies a profound tapestry of spiritual and religious practices. Nepal's history has been predominantly shaped by patriarchal traditions: the Sramana tradition of renunciates and the Brahmana tradition of priests. Yet, there exists a lesser-known matriarchal tradition. Kathmandu, Nepal's capital, meticulously planned by its founder Gunakamdev, features a unique constellation of eight Ajima temples on its peripheries. These temples, dedicated to the grandmother goddesses Ajima, serve as protectors of the city and hint at matriarchal ideals.
Tantra, a spiritual path focusing on energy and liberation, adds another layer to Nepal's spiritual landscape. Unlike patriarchal traditions, Tantra celebrates women's sexuality, emphasizing mutual enjoyment and viewing the body as a sacred temple. Within this matriarchal framework, six genders are recognized, promoting a more inclusive understanding of human diversity.
Kathmandu's labyrinth of temples, structures, and symbols offers glimpses into a bygone era when wise women possibly ruled and protected society, and when Tantra and other spiritual practices flourished. However, invading patriarchal forces have rewritten Nepal's history, obscuring its rich and diverse spiritual heritage, leaving many unaware of their profound legacy.
Plunging us into the ever-accelerating rhythm of food supply and the emergence of new techno-capitalist processes, BLISS POINT looks at the entanglement of automation and human labour, from dark kitchens and food advertising sets to AI-managed warehouses.
Official Selection Karlovy Vary International Film Festival 2024
Dani, tirelessly tending to her ailing mother, experiences a turn of events when her mother mysteriously dies while in her care. In the aftermath, Dani becomes haunted by the incessant ringing of her mother's phone, unearthing unsettling secrets...
