Promisedland™

Director: Frank Eli Martin

Year: 2024

In 1985, the Irish village of Ballinspittle was the site of a mass visionary experience. Worshippers at the local grotto saw the statue of Mary move. Almost forty years later, a handful of local devotees remain, including the statue’s dutiful caretaker Patrick Joseph Simms. Here, the film documents both the mystical landscape of rural Irish Catholicism and a terrible darkness beneath its surface. The film uses a non-realist form and style in order to depict the transcendent experience of its subjects. In so doing, it attempts to offer a credibility to the experience of the film’s participants, whose voices have been deliberately dismissed by the institution that oversees their faith. Official Selection Uppsala Short Film Festival 2024

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.