Antonia Bird: From EastEnders to Hollywood

Director: Susan Kemp

Year: 2024

Structuring this intimate and insightful portrait of Lynda Myles, academic Susan Kemp invokes a form known to define, criticise, and shift paradigms in culture – the manifesto. Meshing archival material with interview subjects including Jim Hickey and B. Ruby Rich, Kemp employs a series of provocations to tease out the philosophy behind a lifetime of ground-breaking film work. In the film's central conversation, Myles beautifully expresses the thrill of putting on a show (including the 1972 Women's Event, pioneering retrospectives of Douglas Sirk, Sam Fuller and Raoul Walsh and many more) while always avoiding the polite. This vivid filmic manifesto is an active document set to inspire anyone who programmes, produces or simply loves cinema today. (Kate Taylor) Official selection Dublin International Film Festival 2024 - UK premiere

Director: Mark Forbes

Year: 2021

Erwin Wyrsch is a retired Swiss photo journalist from 1960's to 1990's where he met Peter Fonda, Billy Idol and Arnold Schwarzenegger. Erwin brought the idea of a Motorcycle Benefit event, based on the model of the American love ride, to Switzerland. He believes the art of taking a photo has been lost in the modern world. He spends his senior years restoring his convertible vintage Lotus in his friend's garage in Switzerland.

Director: Luca Anzalone

Year: 2026

Caught between her indigenous Buryat roots—where art is a shamanic window between worlds—and a Western market that treats culture as a commodity, artist Yuma Radne constructs a monumental canvas to confront the psychological distortions of colonization at the edge of an irreversible era. "Either you make art, or you suffer. It’s like a curse." For painter Yuma Radne, the act of creation is not an aesthetic choice, but an ancestral code carried in the blood. Moving from a remote Siberian village to the high-stakes European art world, Yuma finds herself navigating a surreal landscape where sacred cultural identity is rapidly converted into a luxury product. Through intimate studio dialogues and raw philosophical reflections, the film captures the gruelling physical and mental labour behind her graduation masterpiece, The End of Times. Centred around a gargantuan erupting booze (a traditional Buryat dumpling) mutated into an absurd, monumental symbol of a colonised and erased national identity, the film transcends a typical artist portrait. It becomes a vital, cosmic meditation on why humanity continues to create art in the face of systemic collapse—and a powerful testament to an indigenous culture refusing to be reduced to a souvenir.