Project Detail

SaF05

Synopsis

SaF05 is named after a maned lioness that figures in the work as a cipher for queer attachment and desire. This animal is the last of several maned lionesses documented in the Okavango Delta and is only known to artist and filmmaker Charlotte Prodger through a database of behaviours and camera-trap footage logged across several years. These indexes of SaF05’s existence are intersected with autobiographical fragments from Prodger’s own life that fluctuate between proximity and distance. Her voiceover traces a chronology of intimate gestures and interpersonal connections from prepubescence to the present, inscribed with the incidental details of territorial delineation, sovereignty and land use. Central to these fluctuations is a tension between macro and micro, the experienced and the described.
SaF05 is the last in a trilogy of videos that began with Stoneymollan Trail (2015) and was followed by BRIDGIT (2016). This autobiographical cycle traces the accumulation of affinities, desires and losses that form a self as it moves forward in time.
Official Selection Toronto International Film Festival - Wavelengths

Details

Year
2019
Type of project
Shorts
Running time
40 mins
Director
Charlotte Prodger
Producer
Charlotte Prodger
Editor
Charlotte Prodger
Colourist
Jason R Moffat

Production Status

Production Company

Commissioned by Scotland + Venice – a partnership between Creative Scotland, British Council Scotland and the National Galleries of Scotland – with funding support from the National Lottery through Creative Scotland, and curated by Linsey Young with Cove Park

Sales Company

Page updates

This page was last updated on 12th May 2025. Please let us know if we need to make any amendments or request edit access by clicking below.

See also

You may also be interested in other relevant projects in the database.

Stoneymollan Trail Stoneymollan Trail

Director: Charlotte Prodger

Year: 2015

Using the metaphor of the Stoneymollan Trail, a hiking trail out of Glasgow, the film explores Charlotte Prodger’s personal archive, with material from multiple formats that includes an archive of miniDV tapes that Prodger shot between 1999 and 2004, recent footage shot on her iPhone and HD camera, and screenprinted graphic forms. The resulting single-screen video piece is a meditation on memory, subjectivity and desire. BFI London Film Festival 2015 - World premiere

A hand rests on two metal wires in an underground mine. An electrical box is above. A head torch shines onto the rock face. Moving Sound

Director: Sadia Pineda Hameed

Year: 2025

MOVING SOUND is a speculative work set across 1980s and near-future Wales, shot on super 16mm. In the film, sounds of present day anti-colonial and anti-capitalist strategies for mining strikes are transmitted from Soundcamp streamboxes to the past via an underground, time travelling broadcast. In the 1980s, workers build DIY receivers from Moving Sound portable audio devices, which they use to distribute the broadcast around sites of production and the everyday. First screened in the King Coal Experience (an immersive recreation of the Big Pit underground mine) amidst disused mining machinery, MOVING SOUND blurs fictional 16mm and archival 8mm footage of sonic action to explore how organising converges and enacts across geographies, temporality, fantasy and reality.

Animated window frame in purple and teal with the title No Archive Can Restore this Chorus of (Diasporic) Shame No Archive Can Restore this Chorus of (Diasporic) Shame

Director: Onyeka Igwe

Year:

Through animated text, layered sound recordings and reimagined protest songs from the 1947 Egba Market women’s revolt, this immersive work creates a sonic redress to colonial narratives of Nigeria. Official selection BFI London Film Festival 2026