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The Amber Light

The story of whisky has been told many times. But this film takes a different view, showing how it has been shaped by geology and climate, by tales told on the side of the road and in the corners of pubs. Whisky is a product of folklore and myth, of music and alchemy, of chance rather than design. This is the twisting, shifting and multi-layered tale. In this journey through the lesser-known parts of Scottish whisky culture, we follow spirits writer Dave Broom on his quest to gain a deeper understanding of his national drink. While whisky has never been as popular, it is often seen in the context of being a brand which sits outside people’s lives. It’s often thought of as a drink which speaks of the past rather than engaged with a dynamic present.

The Amber Light

8.3 2019
Elder Birdsong

Elder Birdsong is an animated musical short film in which 3 elderly birds: an ailing Owl, a physically challenged native Tui, and a couple of isolated migratory Korean Godwits sing about challenges of mobility, loneliness, and self-reliance. It is through their humour and dignity that these ageing birds demonstrate their resilience and provoke us to pick up the phone and get in touch with the elderly people in our lives. The film is a collaboration between public health scholars and filmmakers in New Zealand.

Elder Birdsong

NR 2019
In a New York Minute

In A New York Minute follows three Asian women, each at a different stage in their life as they deal with their own personal struggles. Amy is haunted by a past breakup that has manifested into an eating disorder. Angel is caught between a loveless marriage with an older American businessman and a passionate affair with Chinese filmmaker. Nina moonlights as an escort as a way of supporting herself financially. As the story unfolds, the film reveals each character’s wants and desires is reflected in the other.

In a New York Minute

4.3 2019
Looners

Looners (2019) is a kaleidoscopic fantasy filmed in the immense ruins of Hollywood film sets in the Atlas Mountains. Leading us across a series of fantastical worlds performers, anonymised by silicone masks, enact scenes of ritualised pleasure and violence in a manner simultaneously ludicrous and grotesque. This unruly species, somewhere between human and monster, are compelled towards abject repetitions by obscure libidinal drives, ‘a kind of love-as-violence, and violence-as-love’, repeatedly hazing their captive latex inflatables. Rejecting all binary classification–––of real and virtual, front and back stage, male and female, self and other, rationality and madness, surface and subtext, style and content, time and space––– the film instead embraces multiple selves, instability and deviance. Commissioned by Hayward gallery for ‘Kiss my Genders’ (2019)

Looners

NR 2019