Game Keepers Without Game

Director: Emily Wardill

Year: 2011

Based on the life of Sarah Winchester and the Winchester Mystery House, Fulll Firearms presents the story of Imelda, a woman haunted by the victims of the guns sold in her father’s company. She uses her inheritance to work with an architect who builds a house for these ghosts. When a group of people squat her half finished building Imelda is convinced that they are the ghosts that she expected. The narrative touches upon themes of displacement and storytelling, and stands in the tradition of melodrama. The characters find themselves constantly having to adjust their expectations of each other so that they might be able to communicate within each other’s logic. In her films, Emily Wardill creates situations that examine conditions of precarity in society and how these affect people’s relationships with each other. Her films are fostered by improvisations and workshop sessions, that are set up by the artist to develop themes and characters in a collaborative manner. “The house in the film produces an echo, because those who occupy it articulate their voices in relation to the making and writing of a history. Tracing the echoes of actions through the production of social spaces does not remain solely within the diegesis of the film. Instead, it extends to the exchange initiated by Wardill with her collaborators as they produce a film together, and also attempt to implicate the viewer in a film that is also a body – one that is constantly living and growing.” - Jacob Korczynski, 2011

Director: Sandeep Kumar Paul

Year: 2026

Science teacher Swarna and her partner Driti move to a suburban town for a fresh start. When a student leaks intimate photos of Swarna online, school authorities turn her private life into a disciplinary issue. Official Selection Busan International Film Festival 2026 - World premiere

Director: Yv Shells

Year: 2026

When Arlo arrives to find Marcus has cooked someone else’s favourite meal, a single question begins to unravel an evening that refuses to stay in the present. Through a fractured timeline set entirely within one dining room, we move between Marcus and Arlo and the relationship that came before, with Una, the woman he met at a late-night bus stop and once talked about marrying. The same table, the same chairs, the same arguments about trust, honesty and what it means to truly see someone. As the timelines bleed together, it becomes clear that Marcus has never fully left the past, and that Una’s ghost sits at every table he sets. When Arlo asks what her own favourite meal is and he cannot answer, the film’s quiet devastation lands completely. CLOCKS is a portrait of a man who loves generously but sees poorly, and the women who carry the cost. It asks what we owe the person in front of us while we are still in love with someone we lost, and whether a feeling ever truly ends.