On a Wing and a Prayer

Director: Alia Syed

Year: 2004

A poetic and compelling 16mm film shot in London, Karachi and Lahore which encompasses five stories relating to the times of day for Muslim prayer. The work explores overlaps between time, memory and location. Connecting different places and people through images and sounds, Eating Grass contains documentary footage accompanied by a voiceover in both Urdu and English. The textures of individual voices continually slip from one language to another, creating and repeating rhythms. Meaning is not only conveyed by what is said but also by building tonal rhythmical cadences, similar musical structures to those found in jazz or Indian classical music.

Director: Gabi Dao, Lou Lou Sainsbury

Year: 2025

In ancient ruins, three vampires navigate a mystical realm where the boundaries between the living and dead fade. Sacred artifacts awaken as shadows dance between mortality and eternal darkness. Official Selection BFI London Film Festival 2025 - World premiere

Director: Petra Szemán

Year: 2024

A moving image artwork exploring zones of momentary overlap between seemingly opposing elements. The "interface" concept here is fluid and multifaceted; an interface, whether in software, digital screens, or one’s language or body, is a site of entanglement and movement. How the interface manifests and the supposed borders it enacts are recalibrated with every connection that is made. It’s a place of transience with its own set of rules and oscillating perspectives that only make sense within the shifting internal logic of the borderlands. ​The work explores how these dynamic zones can reshape entrenched perspectives. It questions "where images end and bodies begin, where truth or the real might reside,"[*] and where the boundary between spectator and screen dissolves into “life.” Such interfaces function as special conduits to the virtual, positioning the body as a node of mediation in our techno-political landscape. They also reveal what is created or lost in cross-cultural interactions; miscalculations, strange pairings and redundancy live within the hybridity zones of Border and Interface. *From Deborah Levitt’s ‘The Animatic Apparatus’. Official Selection BFI London Film Festival 2025