After the Dance

Director: Daisy Asquith

Year: 2017

A film created from the treasure trove of BFI archive. The story traverses a century of gay experiences, encompassing persecution and prosecution, injustice, love and desire, identity, secrets, forbidden encounters, sexual liberation and pride. The soundtrack weaves the lyrics and music of John Grant and Hercules & Love Affair with the images and guides us intimately into the relationships, desires, fears and expressions of gay men and women in the 20th century- a century of incredible change. Starting with the first gay relationship on film released in 1919, 'Different From the Others', this documentary offers a wealth of unknown newsreel and amateur film from the 20s and 30s, the sub textual references in 40s cinema, the arrests and prosecutions of gay men for ‘gross indecency’ in the 50s, the early gay rights marches and decriminalisation of the 60s and 70s, the campaigns for an equal age of consent and against section 28, the Pride movement and AIDS crisis in the 80s and 90s, the sexual liberation of the 00s queer and transgender scene and the chemsex, gay parenting and marriage campaign of recent years. Official Selection Sheffield Doc/Fest 2017 - World premiere

Director: Daisy Asquith

Year: 2018

An intimate portrait of John Grant, one of the best singer-songwriters of our generation. From the privacy of his bedroom to the pyramid stage at Glastonbury, the film follows Grant’s personal and artistic renaissance, on the verge of becoming a huge international start.

Director: Siobhan Silén

Year: 2027

An animated VR short inspired by autistic musician Jen Msumba, who defies a system designed to erase her through synaesthetic music-making. It explores the universal need to be accepted for who we are. Participants journey through Jen’s life, from childhood, when the world feels confusing and “wonky”. Music is her safety and compass. While others read notes on a page, Jen sees visual maps that help her express emotions and navigate uncertainty. As a teenager, Jen’s mother becomes ill and her anxiety overwhelms her. Years of psychiatric institutions and medication leave her sedated, unable to play instruments. Her family sends her to the Judge Rotenberg Center, whose practices will later be described by the United Nations as torture. Over seven years of confinement and painful electric shocks, Jen is taught to believe she is “wrong”. Secretly composing music in her head becomes her refuge. Realising the centre will not support her independence, Jen writes to a judge and wins her freedom. She rediscovers music and invites us into her musical map, where participants touch and transform notes through movement, shifting melodies from classical to punk rock. We end with Jen performing on stage.