Themes: Gender

The Eternal Return

The Eternal Return, the third instalment in the Dissolution trilogy, posits a now-struggling Sabu in 1952 as he supports his family by performing in Tom

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Brown Queers

Brown Queers developed out of a need to create a docufiction of intersectional identity through multiple personas and styles in 2016, when the footage for

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House of Women

In House of Women (2017), the artist recasts the role of a silent, dancing girl named Kanchi in the film Black Narcissus (1947). The coveted

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Elephant Boy

Elephant Boy (2016) sees Krishna Istha re-enact the introductory sequence of Zoltan Korda’s Elephant Boy (1937), in which child actor Sabu recites lines by rote

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The Invisible Worm

The Invisible Worm is a funny / serious film with spontaneous moments of joy, physicality and thinking aloud. The subtext of the film is the

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The Umpire Whispers

‘The Umpire Whispers’ is an exploration of the intimacy that arises between a swimming coach and an athlete. In the film, Manna returns to meet her coach

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Blessed Blessed Oblivion

BLESSED BLESSED OBLIVION weaves together a portrait of masculine performativity in East Jerusalem, as manifested in gyms, body shops and hair dressing parlors. Inspired by

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Wayfaring Stranger

Wayfaring Stranger charts the life of an itinerant character, embodied by seven performers, across seven days, representing seven decades. Running from the city, through post-industrial

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Ninna Nanna

Margaret Salmon’s three films collectively titled Ninna Nanna, depict the experience of three Italian mothers raising their children, with the films linked by a traditional

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For Eileen

A portrait of American poet Eileen Myles. Outtakes from the filming of I HOPE I’M LOUD WHEN I’M DEAD.

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For CA

A portrait of American poet CAConrad. Outtakes from the filming of I HOPE I’M LOUD WHEN I’M DEAD.

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MARIA

MARIA is Nina Danino’s 5th feature length film and a sister film to the recent SOLITUDE (2022) with Nico (Velvet Underground) as icon, screen and

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Double Exposure

Double Exposure re-stages photographs of Pucill and her once partner, filmmaker Sandra Lahire that were made collaboratively shortly before Lahire’s death from anorexia in 2001.

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