“An autobiographical reflection on his unassuming name leads the filmmaker down a wayward path through family photographs, personal archives, and internet searches. Alternately wry and
Exile as a space for transnational solidarity is explored through a discursive, community-oriented process of production centred around a retreat in the South of France.
During the COVID 19 pandemic, Williams Gamaker was invited by artist Bianca Hlywa to support Refugee Solidarity South East, an online fundraiser for Lewisham Refugee
Casting Kanchi (2015) is a spatialised and expanded version of House of Women (2017) and a response to the casting of white actor Jean Simmons
Lagerah – The Last Born is a work anchored around theories of abolition, rebellion, ancestral knowledge and love. Shot on location in Scotland, London and
Memories of Loitering brings moments from the artist’s past and present together through a spatiotemporal experience of mapping and slow burn. In its overlaying of
A reflection on the artist’s exile, the film unfolds a series of vignettes that toy with the unstable ground between dream and reality. Seeking the
Through its anagrammatical title and anachronistic structure, rial & tERROR creates a fragmented, cross-generational narrative of the Iranian diaspora through moments of collective loss, longing
‘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
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
Dear Barbara, Bette, Nina, (2021) was commissioned as part of a project by Punto de Vista Film Festival in which several filmmakers were asked by
A portrait of American poet Eileen Myles. Outtakes from the filming of I HOPE I’M LOUD WHEN I’M DEAD.