House on Fire

Numbers was created during a trip to Manhattan, where I caught my self-reflection in a glass door that read ‘41’ after having photographed the number 42 earlier the same day, and subsequently continued hunting until I found everything else between 1 and 100. Dedicated to Hollis Frampton. – D.B.

A father and daughter visit a desolate stretch of road rumored to be haunted by the ghost of a dead motorcyclist.

This found 8mm film of underwater ballet has a red rust effect flowing through it like living fire.

Short "bullet film" from the Syrian Abounaddara film collective.

Coup de cœur

Oasissy’s oeuvre transcends onto the silver screen with a cinematic debut that defies genre, deftly blending their subtle tribute to Oasis with an unbridled passion for Céline Sciamma's masterpiece, Portrait of a Lady on Fire. Oasissy are a spoof, drag king, Oasis tribute act who have performed all over the UK, on the streets, in cabarets and on screens.

3D Eternalism film by Ken Jacobs

A young pawn from the white team progresses on the chessboard where she quickly faces a piece from the opposite team.

Soleil Cou Coupé

A feedback driven experimental digital animation by Andrew Benson.

Gail's in trouble. Can Gary reach her in time?

Broadcasting from home was created while working through the perplexity of loss and the human desire to communicate with the afterlife. The video was manufactured using a frame-by-frame analogue transfer technique and digital post-production.

Very short inspirational piece demonstrating the amount of vegetables which can be grown in a back garden in the middle of London

A cautionary tale about sticking your nose where it doesn't belong.

Jimmy is a teenage boy who has become increasingly reliant on social media for social interaction. He finds himself feeling lonely and shy, unable to approach girls in person or online. As the film progresses, Jimmy slowly discovers the power of real relationships and the importance of taking risks to turn his life around.

I walk through the park holding him tight. When in the dark, that's when he starts to bite.

A middle-aged black man is falsely hailed by a passerby: “Hi, Gary!” He stops and turns. “How’s it going?” The camera takes in another careful, evenly lit shot of the man as he frowns and delivers his line with actorly gravitas: “I’m not Gary.”

Taking one of the world’s most popular children’s songs as a sample, this video slowly reveals the latent violence embedded in the culture addressed to kids. This is a single video take, similar to a photograph, in which a tiny instrument is left to self-unwind with so much tenderness while the song’s story of almost carnivorous nature is told.

During a day at the park, two photographers connect over their love of taking pictures.

A series of numbers that form infamous years that are uttered in a repetitive pedagogical litany. Ominous dates as a correlate of forgotten apolitical portraits. Portraits of a remembered royalty whose wealth was made possible by infamous times. Political faces accompanied by their corresponding dates. Peaceful figures whose placid portrait rests on the automated civilizational barbarism. This is part of the educational film cycle.