The View from Our House

Director: Anthea Kennedy, Ian Wiblin

Year: 2025

A poetic memoir and political report, shot in Berlin and Leipzig, and in landscapes around the British Isles. The film’s narrative builds out from the events of the Reichstag Fire in Berlin in 1933 in which the pioneering German-Jewish sound recordist, Ludwig Koch, on whom the film ultimately centres, plays a minor role, placing him and his family in danger. The film is structured in two parts, juxtaposing Koch’s persecution in Nazi Germany with his experiences as a refugee recording bird song and other sounds in Britain. The film’s images of contemporary urban and rural terrains, and of objects and documents, create a collision between past and present. Shifts in time are further emphasised through the use of Koch’s original sound recordings from Germany and Britain which feature throughout the film. Official Selection FID Marseille 2025 - International Competition

Director: Anthea Kennedy, Ian Wiblin

Year: 2018

Based on documents found in Berlin archives, 'Four Parts of a Folding Screen' explores exclusion, statelessness and the legalised theft and sale of everyday family possessions by the National Socialist regime. A voice, enigmatic and sometimes uncertain, foretells of, relates and recalls the routine processes of injustice and their legacy: the creation of a diaspora of household objects, scattered amongst buildings that no longer exist. As the camera probes the secrets of ordinary spaces, streets and buildings around the city of Berlin, semblances of a person and a history begin to emerge and coalesce. Official Selection Rotterdam International Film Festival 2018 - World premiere

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.