PU EKAW TNOD

Director: Rebecca Culverhouse

Year: 2018

An experimental horror short that explores the modern disease becoming known as consumption. It follows successful product photographer Anna, who aims for a life filled with perfect moments, inspired by a constant stream of social media feeds, sponsored blogs and fairytales playing on her computer. Yet whenever alone Anna's beautifully curated life is taken over by a growing hunger, and she starts hearing disturbing organic sounds. She controls this by eating pretty things, yet the hunger and sounds become inescapable, until even the men she dates become consumable objects. Critiquing the insidious influence of advertising and corporations that has seeped into our digital lives. Made of endlessly looping cinemagraphs, it subverts a trendy online medium in order to reflect the impossibility of attaining everlasting perfection, something that we are socially conditioned to strive for. The film contains many hidden references, such as the myth of King Midas, pro-Ana online support groups and the Algonquin cannibal spirit Wetiko - a metaphor for society’s dopamine addiction and the inner void it creates. Anna's story also exists as an endlessly looping series of perfect moments here: instagram.com/annaeatspretty

Director: Julia Fry

Year:

Using ideas from Carl Jung - exploring and accepting the inner world, Carolyn Abbate - analysis of dissonance to find the narrative voice - and Hilde Lindemann Nelson - using narrative to repair damaged identity, I filmed my process of creating puppets and recorded some of the thoughts that arose as I made them. I utilised emergent practice in the filmmaking, which meant letting go of preconceived ideas to let narrative arise in the moment. I wanted my puppets to unite, rather than fight in the traditional Punch and Judy manner.

Director: Keshavi Jaharia

Year: 2026

In 1970s London, Simran arrives at Heathrow Airport from Punjab to be married in two weeks. Dressed for the journey, she moves through the warmth and order of the terminal until she is quietly diverted into a secondary corridor. In a calm examination room, procedures are explained to her in a familiar language, framed as routine and voluntary. What follows is a polite, administrative process that determines her right to enter the country. When Simran is allowed to leave, the airport resumes its rhythm. Outside, her future husband waits. Life continues.