Night Burns Like Cigarettes

Director: Elisabeth Felson

Year: 2020

The Nye family, who arrived in London from Australia in the '60s, were passionate about horses. They established a stable in Hyde Park, and have been doing a remarkable work at the community level for decades. They contributed to democratizing riding in the city, passing their dream from generation to generation. The camera captures the day-to-day routines and challenges of life at Ross Nye Stables with humour and poetry. Premiere at the Melbourne Documentary Film Festival 2021

Director: Chris Vile

Year: 2026

Henry Moore beside a pebble. Barbara Hepworth next to broken china. No labels. No velvet ropes. No explanation. Art stripped of its usual deference and curatorial esperanto. Art revealing its true power. Art for all. ‘You want to look at how it is and marvel at the ordinariness of it and the extraordinariness of it all’ (Lubaina Himid) Kettle’s Yard is a small, humble home. Created by a couple, Jim & Helen Ede, who, with little money, became supporters and friends of many of the most important artists of the 20th Century. Jim survived the trenches of the First World War but despaired of a society that could allow such horrors. His is a quiet, very British, revolution that has a powerful resonance today. Antony Gormley, Edmund de Waal, Cornelia Parker, Ai Weiwei and others, passionately explain why this humble place is so important to them and why Jim’s radical ideas are vital for us today.

Director: Marisa Privitera Murdoch

Year: 2026

Edge is Everything is a love letter to photography and to the art of truly seeing. For over 30 years, Thomas Joshua Cooper has photographed the furthest edges of land with a 19th century camera. His work bears witness to landscapes transformed by climate change while recovering forgotten histories of migration, exploration and departure. Cooper draws on his Native American heritage and an extraordinary archive of audio interviews he recorded in the 1970s with photography’s most influential figures, including Ansel Adams, Man Ray, Imogen Cunningham and Paul Strand. These previously unheard tapes create a rare intergenerational conversation about photography and artistic practice. The film also examines the cost of an uncompromising creative life. His wife and adult daughter reveal the impact of his prolonged absences and challenge the mythology of the solitary artist. At a time defined by speed, distraction and instant images, Edge is Everything asks what might happen if we slowed down long enough to fully observe. This question has guided Cooper since childhood, when he was taught by his Native American elders: “Each of us has an eye that sees and a seeing eye. When you learn which is which, you will have begun to become human.”