Wind in the Trees

Director: Alex Nevill

Year:

Temperatures rise, oceans acidify, storms roll in, coast lines shimmer and degrade. Stories bubble up, mythology, folklore, tales of a perilous sea, communal rituals for protection and harmony with nature. RESTLESS SEA is an immersive installation exploring climate resilience in coastal Hebridean communities, a chain of islands west of Scotland.

Director: Patrick Hough

Year: 2026

Filmmaker Patrick Hough journeys through the haunted landscapes of Ireland, where colonial violence, ecological loss and queer desire remain inscribed in the land. Moving between forests, mountains, archives and cruising grounds, the film traces the extinction of the Irish grey wolf alongside the cultural suppression that followed Cromwellian conquest of Ireland. Fragments of history surface through objects and places: a death mask of Oliver Cromwell, medieval myths of werewolves, maps drawn to measure and divide conquered territory, and landscapes where wolves were once hunted to disappearance. These materials are interwoven with contemporary nocturnal scenes of queer gathering and protest, where shame gives way to transformation, pleasure and resistance. Blending essay film, documentary and poetic fiction, LANDSCAPES OF SHAME asks how violence survives in landscapes, language and bodies - and what forms of wildness still remain. Official Selection BFI London Film Festival 2026

Director: Sadia Pineda Hameed

Year: 2020

THE SONG OF MY LIFE takes its audio-visual style from pop karaoke videos, 1970s melodramas and ballads. It is a duet of absences, marked by a missing vocal partner and gaps in the backing track, which comes from a 1971 easy-listening song of the same name by Filipino actress and singer Nora Aunor. Atmospheric and dreamlike, the film weaves together mesmerising images filmed by the artist - light hitting water, waves on the sea, illuminated flowers - with found footage of crushed cars and a TV romance. These visuals shift our attention between what we hear, what we read, what the artist tells us, what her mother cannot directly say, and the silences in between; interested in the gaps in the telling of stories, what she calls the “quiet and misunderstood spaces” where secrets within a family may be sensed or implied. The need to look for meaning in hidden or alternative spaces also arises from living under colonialism, where estrangement between generations is also the consequence of this. Abundant with clues and coded references, THE SONG OF MY LIFE is like experiencing the retelling of a story - each return unearthing more than before.