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Belgian filmmaker and cinematographer Fairuz Ghammam’s warm, generous work explores aspects of (auto)biography, shared authorship, and collaborative practices.
Staged as a walk through her hometown, Kortrijk, Culture riffs on these themes, sewing kernels of family history through a narrative, and a gaze, that oscillates between private and public space. How many memories and storylines can coexist?
Three short works by young filmmakers in Berwick, made collaboratively with artists Kimberley O’Neill and Kathryn Elkin. Applying techniques of digital filmmaking and documentary storytelling, the films explore entangled relationships between people, technology and the local environment.
Subterranean Sound and GRDN’s off-kilter DJ, event organiser and party-pusher, Noodle, invites you to show your bones on the dance floor and work your way through a loose, playful, potent hit of minimal, bouncy, bass-driven breaksy sounds.
Drawing on a wealth of unseen archival material and unpublished notebooks, Being in a Place weaves a complex and personal portrait of Margaret Tait’s life, from the perspective of a fellow artist sensitive to the potential Margaret envisaged for film as a poetic medium. At the centre of the film is an imagining of an unrealised script for a feature film discovered amongst Margaret’s documents in Orkney titled, Heartlandscape: Being in a place – a document of a landscape, and of a journey through it.
A programme of short works traversing hallucinatory dreamscapes, contested landscapes, and the precarious movements of bodies through time and space. Argentinian auteur Lucrecia Martel screens alongside contemporary artists, Basim Magdy, Marwa Arsanios and Fox Maxy.
After a day at the movies, it’s time to get up, get down, and get on out to party with Miss Mobile Disco – Edinburgh’s finest Mobile DJ, serving up killer cocktails of disco, funk, soul, 80’s and feel good party gems!
Inspired by the Bad Student movement calling for educational reform in Thailand, Arnold Is a Model Student follows the titular protagonist as he joins forces with the rebellious Bee and an underground syndicate of misfits helping students cheat on their exams. This accessible yet subversive debut feature from Sorayos Prapapan pivots deftly between moments of absurdist humour and heartfelt, urgent gestures of cinematic protest. Combining dramatic details from his own childhood with footage from contemporary news and social media, Prapapan acknowledges a continuum of generational experience and the interplay between reality and fiction.
Three concentrated doses of cinematic pleasure. Artists in this programme meditate on storytelling and agency, synthesising practices of filmmaking and living to suggest new forms of intergenerational care. The ways we interpret our collective selves are explored through tender engagements with technologies of record and remembrance.
What is to be done when our homes and our dreams have been invaded? Graeme Arnfield’s nightmarish essay film traces the curious history of the doorbell, from its invention and reinventions through 19th century labour struggles, to the nascent years of narrative cinema and contemporary surveillance cultures. Home Invasion paints a terrifying portrait of technological ideologies and imaginaries shaping our everyday lives, staging a confrontation with the reality of machines and systems that work against us, hindering the emergence of radical futures.
As chilling as it is absurd, Kamal Aljafari’s Paradiso repurposes found footage from Israeli military propaganda and turns it into a fictional drama of men playing at war. Aljafari takes the title from a short story by Borges and describes the work as a “cinematic self-portrait” – questioning our interpretation of screen violence, its relationship to real-world horrors, and troubling our positionality as spectators.
