Game Keepers Without Game

Director: Emily Wardill

Year: 2011

Based on the life of Sarah Winchester and the Winchester Mystery House, Fulll Firearms presents the story of Imelda, a woman haunted by the victims of the guns sold in her father’s company. She uses her inheritance to work with an architect who builds a house for these ghosts. When a group of people squat her half finished building Imelda is convinced that they are the ghosts that she expected. The narrative touches upon themes of displacement and storytelling, and stands in the tradition of melodrama. The characters find themselves constantly having to adjust their expectations of each other so that they might be able to communicate within each other’s logic. In her films, Emily Wardill creates situations that examine conditions of precarity in society and how these affect people’s relationships with each other. Her films are fostered by improvisations and workshop sessions, that are set up by the artist to develop themes and characters in a collaborative manner. “The house in the film produces an echo, because those who occupy it articulate their voices in relation to the making and writing of a history. Tracing the echoes of actions through the production of social spaces does not remain solely within the diegesis of the film. Instead, it extends to the exchange initiated by Wardill with her collaborators as they produce a film together, and also attempt to implicate the viewer in a film that is also a body – one that is constantly living and growing.” - Jacob Korczynski, 2011

Director: Akporé Uzoh

Year: 2026

The aftermath of a sexual assault (rape). Exploring the deep-felt consequences for all involved. At its heart an epic story of a couple's fight for the survival of their love.

Director: Rosario Hurtado, Roberto Feo, Stuart Bannocks

Year: 2025

AS TIME SWALLOWS TIME weaves fragmented narratives into a poetic dialogue between two entwined inquiries. The first engages with the curatorial focus of BIO28 (Ljubljana Design Biennale), which interrogates the historical symbolism linking women to flowers - figures of fragility, sensuality, and objectification - and the ways these associations have been reclaimed and subverted. The second unfolds as a speculative exploration of time and temporal perception as forces shaping human consciousness and evolution. Together, these threads compose a meditation on transformation, perception, and the cyclical nature of existence. Constructed through the juxtaposition of narrative fragments, the film layers scenes in a manner that invites viewers to navigate and reassemble its temporal and conceptual terrain. The film presents a dialogue between the Ljubljana Biennale’s curatorial theme, “Do You Speak Flower?” which explores the historical contexts in which women have been symbolically linked to flowers—figures of fragility, sensuality, and objectification—and how those associations have been reclaimed and subverted, and this theme directly, and the authors speculative exploration of time, temporal perception and post humanity.