Project Interrupted: The Making of Commercial Zone 2014

Director: Kathy DiTondo

Year: 2020

I WAS A TEENAGE GUITARIST FOR THE CLASH! © the documentary film is based on the DIY book by Kathy DiTondo and Keith Levene published in 2014. This book with artistic custom cover was completely pulled off DIY from concept through marketing through finance through product development through post production through distribution and provided a main funding source for the completed PiL album called Commercial Zone 2014. The book recalls the DIY British music/art/design/cultural/political revolution that began in streets of West London and went global in 1976 as told to Kathy DiTondo by Keith Levene, founder member of "the only band that matters" - the Clash.. The Clash along with the Sex Pitols were the two major bands on the West London scene.

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.