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Five Days With Tom

Irish photographer Tom Wood, affectionately known as "Photie Man" by the people of Liverpool, his adopted city, needs no introduction. He captured it in an almost obsessive manner from 1978 to 2001. His photographs are a tender chronicle of the daily life of the Scousers, from the market to the Anfield football stadium, through its nightclubs and the seaside resort of New Brighton. In front of Emmanuel Bonn's camera, the photographer revisits these places that continue to nourish his work. Back in his home in Wales, against a backdrop of classical music, Tom Wood invites us to dive into his archives and shares his vision of the medium, his life, and the projects that have marked it. A modest and touching portrait of whom Martin Parr calls the "unsung genius of British photography.”

Five Days With Tom

NR 2019
And the Seas Bring Forth New Lands

Ebun Sodipo’s film And the Seas Bring Forth New Lands brings together archival footage and a performance of original text to grapple with the interconnected precarity and joys of Black life. Footage combines clips from popular films, news broadcasts, social media platforms such as Vine, and fashion shows. Sodipo’s film reckons with the demands placed on Black existence while speculating on other ways of being adjacent to these violences. The soundscape knits together music from artists such as Blood Orange and Solange, along with Sodipo’s performed text.

And the Seas Bring Forth New Lands

NR 2019
Inside Fold

Given exclusive and unrestricted access, Rebecca Salvadori’s film about East London venue Fold viscerally captures and contrasts the immersive sensory experience of clubbing with intimate behind-the-scenes footage of the unseen hands that shape the environment this unfolds in. The result is a 360 study of of one of contemporary culture’s last remaining temporary autonomous zones: a place where community is forged through music, personal and societal restraints begin to fall, and transformation and even spiritual transcendence become a possibility. Salvadori’s film offers a unique vision into contemporary club culture, exploring the intimacy between ravers and the invaluable team behind the venue.

Inside Fold

NR 2019
Approaching Viriditas (Epilogue)

An egg that won’t crack. A mermaid who wants to do the splits. A breast that won’t lactate. A pelican that pecks itself. This performance to camera builds on a series of live works made in 2018 and develops a free-associative language to discuss the lived experience of fertility treatment. Viriditas is a concept associated with the medieval mystic Hildegard of Bingen – a notion of spiritual ‘greening’, which here is applied to the female body. Performative action is layered with readings of Hildegard’s texts and coded watercolour drawings. Other points of reference include Carlo Crivelli’s portraits of the Virgin and Child; the lactating nereids on the Fountain of Neptune in Bologna; and the pagan-Catholic hybrid goddess, Madonna of the Wheat. This work is supported by a bursary from a-n The Artists Information Company and supported using public funding by the National Lottery through Arts Council England.

Approaching Viriditas (Epilogue)

NR 2019
Not (a) Part

Conceived in relation to both the rapid decline of flying insects and the high recurrence of animation, Not (a) part is handmade or contact film that works with the subject and/or material of flying insects. Numerous dead bees found on walks were positioned directly onto negative film and contact printed. Occupying approximately 24 frames they run at a rate of one bee per second. The length of the film is determined by how many specimens are found over a specified period of time.

Not (a) Part

NR 2019
Oil and Gas Pollution in Vaca Muerta

Vaca Muerta, Argentina, is one of the world's largest shale oil and gas deposits, that deposit is also home to the indigenous Mapuche people. In 2013, a new deal saw U.S. energy giant Chevron (energy) enter Vaca Muerta, opening the region for the first time to the international oil and gas industry. In collaboration with The Guardian, FA investigated a local Mapuche community's claim that the oil and gas industry has damaged their ancestral land, eroded their traditional ways of life and irreversibly damaged the environment.

Oil and Gas Pollution in Vaca Muerta

NR 2019
Datacosm

At the dawn of the Datacosm, data is planted, harvested, transported, stored and processed as data-feed for consumption by the data eaters. The infiltration of the data storage facility by a hacker leads to contamination by a thought virus which alters the Datacosm forever. Set in apuppet theatre, data scientists (as puppeteers) control puppets, objects and analogue data to create the narrative on the stage above. Code scrolls between the ‘real’ world of the puppeteers and the micro dramas enacted by the puppets. The film was derived from an original collaborative version of "Datacosm" which combined artificial intelligence and animation and was presented as a live performance.

Datacosm

NR 2019
Tha-at's right

"Tha-at’s right" is an attempt to choreograph a dance from a dance review. This review, written in 1959 by critic and poet Edwin Denby, articulates the music and movement of a dance using an idiosyncratic stream of metaphors. "Tha-at’s right" takes these outlandish descriptions literally by using them as a script or score, translating the written word back into a performance. This process was realised collaboratively with the performers onscreen over the course of a day.

Tha-at's right

NR 2019