Alarm Notes

Director: Anthea Kennedy, Ian Wiblin

Year: 2018

Based on documents found in Berlin archives, 'Four Parts of a Folding Screen' explores exclusion, statelessness and the legalised theft and sale of everyday family possessions by the National Socialist regime. A voice, enigmatic and sometimes uncertain, foretells of, relates and recalls the routine processes of injustice and their legacy: the creation of a diaspora of household objects, scattered amongst buildings that no longer exist. As the camera probes the secrets of ordinary spaces, streets and buildings around the city of Berlin, semblances of a person and a history begin to emerge and coalesce. <br /> Official Selection Rotterdam International Film Festival 2018 - World premiere

Director: Anthea Kennedy, Ian Wiblin

Year: 2013

An unseen woman witnesses the ordinary oppression and fear of the early years of National Socialism. She describes the sound of screaming she regularly hears on passing a military barracks whilst walking from her house to the station. Images of the barracks recur throughout the film, suggesting the routine tyranny that precipitates the woman's increasing fear and eventual journey into exile. The film's structure of repetition and retelling foregrounds the way in which her life is stunted by increasing marginalisation and terror. "I’m only just eighteen but sometimes I already feel so old that I think of dying," she writes in a letter to her would-be lover. The View from Our House is based in part on the memories, unsent letters and notebooks of a young photographer who lived in Berlin-Tempelhof. Aspects of her life are mapped out within this small area of Berlin through a succession of haunted images and sounds that imbue place with a sense of memory and history.

Director: Michael Sherrington, CJ Mahony, Lewis Hetherington

Year: 2025

Four queer people, in beautiful and striking sites and environments across Scotland, ask questions about the stories we choose to tell and how these stories shape the lives of those who come after us. The film is an archive for the future, claiming space for marginalised cultures, languages and identities.