Dog Crease Pattern
Synopsis
The narrative and narration comes from supporters of the project who lent their stories and voices to the film.
The film's title and design makes the connection between memory/routine and the patterns and creases left on a piece of paper when we unfold an origami model.
Details
- Year
- 2025
- Type of project
- Shorts
- Running time
- 04:25
- Director
-
James Pollitt
- Producer
- James Pollitt
- Editor
- James l Pollitt
- Screenwriter
- James l Pollitt
Genre
Categories
Production Status
Production Company
James Pollitt
14 Cranford avenueSale
M332AU
Sales Company
James Pollitt
Page updates
This page was last updated on 14th October 2025. Please let us know if we need to make any amendments or request edit access by clicking below.
See also
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Year: 2025
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The Big Bad Wolf
Director: Leo Wright
Year: 2024
After discovering the power of the humble brick, pigs forged ahead into the industrial revolution building houses, factories and shops to wolf-proof their lives. This is the story about a little piggie named Richmond who befriends a not-so-big bad wolf named Billy, much to the outrage of his father. Set in the Black Country, this film is about friendship, inclusivity and not judging a wolf by its cover. Official Selection BFI London Film Festival 2025
Border as interface
Director: Petra Szemán
Year: 2024
A moving image artwork exploring zones of momentary overlap between seemingly opposing elements. The "interface" concept here is fluid and multifaceted; an interface, whether in software, digital screens, or one’s language or body, is a site of entanglement and movement. How the interface manifests and the supposed borders it enacts are recalibrated with every connection that is made. It’s a place of transience with its own set of rules and oscillating perspectives that only make sense within the shifting internal logic of the borderlands. The work explores how these dynamic zones can reshape entrenched perspectives. It questions "where images end and bodies begin, where truth or the real might reside,"[*] and where the boundary between spectator and screen dissolves into “life.” Such interfaces function as special conduits to the virtual, positioning the body as a node of mediation in our techno-political landscape. They also reveal what is created or lost in cross-cultural interactions; miscalculations, strange pairings and redundancy live within the hybridity zones of Border and Interface. *From Deborah Levitt’s ‘The Animatic Apparatus’. Official Selection BFI London Film Festival 2025