My Friend Lanre

Director: Leo Regan

Year: 2004

Comfortably Numb follows Jake's battle to overcome his addiction to alcohol in a specialised treatment centre, Promis. He is initially resistant to the programme, but things improve when he starts a relationship with fellow patient, Emma. Jake is introduced to Promis's system of group counselling and is confronted about his 'sex and love' addiction. But he can't understand that his growing reliance on Emma is as much a barrier to his recovery as his dependency on alcohol. The pair are banned from seeing each other.   After a drug-fuelled night, things get out of hand. The next day, Jake comes close to accepting what he needs to do to recover but it proves too much for him and he decides to leave, and recover on his own terms. But almost immediately he walks into a pub.   It seems as though Jake will return to his old ways, but as the film ends, we see that he is back at Promis, determined to make a full recovery this time.

Director: Hannah Berryman

Year: 2024

A landmark feature documentary about astronaut Eileen Collins, the first woman to pilot and command the Space Shuttle. Eileen’s incredible journey starts with her smalltown beginnings, sees her smash through many glass ceilings, and culminates in four dramatic space shuttle missions, the last being possibly the most dangerous and most important of them all. At its heart the film is the moving human drama of one family, where a mother’s extraordinary career takes us straight to the big philosophical question of what is the level of acceptable risk in human endeavour? This film celebrates Commander Collins’ trailblazing NASA career which opened the way for women to become spacecraft pilots and commanders, and proved a perfect riposte to a previous generation of male astronauts who thought there was no place for women to lead the way in space. Official Selection DOC NYC 2024 - World premiere Official Selection CPH:DOX 2025 - European premiere

Director: Aikaterini Gegisian

Year: 2023

A cinematic essay composed of over 200 postwar U.S. informational films and newsreels from the Library of Congress and the National Archives. What begins as an inquiry into America’s vision of early European integration becomes a feminist re-reading of the masculine gaze that shaped the postwar world. Through archival images once used to define ‘the global’ and ‘the other,’ the film exposes the links between Hollywood, propaganda, and the military-industrial complex in constructing Western modernity. By casting a female gaze on these histories, THIRD PERSON (PLURAL) challenges the authority of the archive and reveals the unseen many who inhabit it - the collective ‘third person’ who looks back at the camera.