The Lynda Myles Project: A Manifesto

Director: Susan Kemp

Year: 2016

A biographical documentary about the remarkable and turbulent career of British film and TV director Antonia Bird - the first British woman to direct a Hollywood movie, who died in 2013. The film explores her battles to break down the barriers against her gender and her politics, to get her voice heard, and to bring a radical edge to popular drama. It reveals the secrets of her greatest work - Safe, Priest, Face, Ravenous, Care, The Hamburg Cell - through the testimony of her closest friends and collaborators, including Robert Carlyle, Mark Cousins, Kate Hardie, Irvine Welsh and Steven Mackintosh.

Director: Mark Forbes

Year: 2021

Erwin Wyrsch is a retired Swiss photo journalist from 1960's to 1990's where he met Peter Fonda, Billy Idol and Arnold Schwarzenegger. Erwin brought the idea of a Motorcycle Benefit event, based on the model of the American love ride, to Switzerland. He believes the art of taking a photo has been lost in the modern world. He spends his senior years restoring his convertible vintage Lotus in his friend's garage in Switzerland.

Director: Luca Anzalone

Year: 2026

Caught between her indigenous Buryat roots—where art is a shamanic window between worlds—and a Western market that treats culture as a commodity, artist Yuma Radne constructs a monumental canvas to confront the psychological distortions of colonization at the edge of an irreversible era. "Either you make art, or you suffer. It’s like a curse." For painter Yuma Radne, the act of creation is not an aesthetic choice, but an ancestral code carried in the blood. Moving from a remote Siberian village to the high-stakes European art world, Yuma finds herself navigating a surreal landscape where sacred cultural identity is rapidly converted into a luxury product. Through intimate studio dialogues and raw philosophical reflections, the film captures the gruelling physical and mental labour behind her graduation masterpiece, The End of Times. Centred around a gargantuan erupting booze (a traditional Buryat dumpling) mutated into an absurd, monumental symbol of a colonised and erased national identity, the film transcends a typical artist portrait. It becomes a vital, cosmic meditation on why humanity continues to create art in the face of systemic collapse—and a powerful testament to an indigenous culture refusing to be reduced to a souvenir.