My Dad, Guyana and Me

Director: Noella Mingo

Year: 2022

A heartwarming documentary featuring six women aged between 77 and 89. As young women they left their homes in the Caribbean, Ireland and South Asia to answer post WWII Britain’s call for workers. The film uses archive film and photography to interweave pivotal moments in women’s social history with the interviewees’ memories of life in Britain. These are the moments and movements that impacted women then and now. They include the Notting Hill uprising and the fight for racial equality in housing and jobs. The immigrant workers’ rights fought for by the Grunwick factory strikers and the lengths mothers went to in order to ensure their children received a proper education. Today, these fearless women are almost invisible to modern society, but as the film shows, they are still vibrant, engaging and full of mischievous fun.

Director: Mark Forbes

Year: 2021

Erwin Wyrsch is a retired Swiss photo journalist from 1960's to 1990's where he met Peter Fonda, Billy Idol and Arnold Schwarzenegger. Erwin brought the idea of a Motorcycle Benefit event, based on the model of the American love ride, to Switzerland. He believes the art of taking a photo has been lost in the modern world. He spends his senior years restoring his convertible vintage Lotus in his friend's garage in Switzerland.

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.