Anna returns home to her family’s farm, but her mother is rattled by the unexpected visit.
Official Selection BFI London Film Festival 2024 - Short Film Competition
GREEN LUNG responds to the history of Derby Arboretum, Britain’s first public park, commissioned by mill owner Joseph Strutt, opened in 1840. Using screen-printed animation and found materials, the film makes connections between the nature of the park, and the industrial working lives of those it was intended to benefit.
Using Toni Morrison’s ‘The Site of Memory’ as a starting point for interrogation, HALF MEMORY is a languid meditation on memory, conurbations, isolation, and the histories we live among. Oscillating between years, cities, and unfolding images, the film is an examination of the present as an artefact of the past. Shot on Super8 and filmed between the US, France and the UK over a period of years.
Official Selection BFI London Film Festival 2025
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
With the unexpected death of his father, Jamie finds himself in the middle of his Muslim uncle, Hafiz, and his father’s New-Age girlfriend, Alicia, at the office of William's Funeral Directors.
Presented with a series of burial options catering for every religious denomination, uncertain about his father’s beliefs, or his own, he finds himself at a crossroads between religious
tradition and his secular upbringing.
Sitting in a dated wood-panelled office, the grieving family undergo the Funeral Director’s well-oiled administrative process. Desperately attempting to make sense of it all, wanting to do the right thing, Jamie’s places a wager on what he believes may be the most pragmatic solution.
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
