Me, My Mouth and I

Director: Sophie Robinson

Year: 2019

Artist, activist and performer Jess Thom, who has Tourette's syndrome, conducts a revealing investigation into one of Beckett’s most intense monologues, ‘Not I’, in which she asks the audience to reconsider issues of disability, representation and social exclusion. This film is radical in its asking of exciting and novel questions about the portrayal of disability in the arts and the exclusion of disabled people as cultural and creative producers. Jess moves past the reverence that surrounds Beckett’s work and makes it accessible to everyone, while raising questions about cultural curation, who has access to theatre and who can perform it.

Director: Brett Morgen

Year: 2027

An arena-scale cinematic experience built out of long-lost, remastered 35mm footage originally shot by British director David Hemmings. The film features previously unseen concert footage of David Bowie from his 1978 Isolar II World Tour, in support of his landmark 'Heroes' album. Using a three-screen presentation, transparent LED screens and large-scale projections, it is described as an “immersive and sound light experience”. Official Selection Berlin International Film Festival 2027 - World premiere

Director: Purva Tavri

Year: 2026

Across India’s overlooked margins, India’s Circularity – Not a Trend, But a Tradition from the Margins reveals how reuse, repair, and regeneration are not innovations - but inherited ways of life rooted in culture, necessity, and care. Featuring voices across sectors - artists, makers, NGO leaders, entrepreneurs, government officials, planners, engineers, institutions, and homemakers - the film journeys through terracotta clusters in Rajasthan, bamboo-timber homes in Sikkim, palm-leaf artisans in Kerala, and community commons in Chhattisgarh. One story is deeply personal: the director’s mother, whose regenerative practices shaped the director’s own circular worldview long before her professional work in sustainability. With poetic narration, immersive visuals, and grounded research, the film reframes circularity as a lived tradition, not a future policy aspiration.