Eel Pie and Blues
Synopsis
Details
- Year
- 2009
- Type of project
- Shorts
- Running time
- 30 mins
- Format
- DV
- Director
-
Anne O'Connell
- Producer
- Anne O'Connell
- Editor
- Anne O'Connell
- Director of Photography
- Roland Denning, Jeanette James
- Composer
- Ken Colyer, Peter John Ross, Taylor Hayward
- Researcher
- Jeanette James
Categories
Production Status
Page updates
This page was last updated on 12th May 2025. Please let us know if we need to make any amendments or request edit access by clicking below.
See also
You may also be interested in other relevant projects in the database.
Cliffhanger
Director: Anne O'Connell
Year: 2006
Diana’s home and café business are at risk from coastal erosion. Everything she has worked for all her life could fall off a cliff at any moment. Here she tells the story of her fight to save her home and business from destruction.
Adlais
Director: Alex Darby, George Leith, Sophie Mei Birkin
Year: 2026
Adlais (Echo) weaves Welsh language folklore and histories through their shared subjects of poetry and drowning – and asks whether we’re listening to the past as it surfaces today.
The End of Times
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.