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: 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.

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.