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- STST Film Club X Dream Sequence #3


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- STST Film Club X Dream Sequence #2
- STST Film Club X Dream Sequence #1
- Films By Martine Rousset
- Dream Sequence #2
- Dream Sequence #1

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STST Film Club X Dream Sequence #3


     
Thursday, Jul 3, 2025 · 7 - 9.30pm GMT

Staffordshire St
49 Staffordshire St London SE15 5TJ

Dream Sequence presents an evening of experimental short films by bold and forward-thinking filmmakers from around the world. No theme. No rules. Expect a kaleidoscopic night where ideas, themes, textures and filmmaking techniques collide.

Tickets available here. 



Glistening Thrills (Jodie Mack, 2013)



UK - 8’33”

A shiny otherworld of holographic reverie pairs dollar store gift bags and haunting sounds, unfolding an effervescent melancholy in three parts. Featuring compositions for bowed vibraphone by Elliot Cole.
Jodie Mack is a UK-based experimental animator and Professor of Animation at Dartmouth College. Her films unleash the kinetic energy of material remnants of domestic and institutional knowledge to illuminate the relationship between decoration and utility. Straddling the boundary between rigor and accessibility, her cinema questions how we ascribe value to things. Mack's 16mm films have screened at a variety of venues including the Locarno Film Festival, the Toronto International Film Festival, the New York Film Festival, the Jeonju International Film Festival, and the Viennale. 


Mechanisms (Ian Andrews, 2024)



Australia - 9’18”  

This experimental film repurposes bleached 16mm prints of vintage hospital fire safety films, transforming them through layers of digital abstraction. Two sets of altered prints—one green-yellow, the other red-yellow—are composited with randomly generated visual masks. The result is a sensorial study in visual decay, control, and transformation.Dr. Ian Andrews is a Sydney-based media artist and theorist whose work spans generative sound, video, and text, often presented in installation formats. His practice is informed by research interests in aesthetics, philosophy, sound, media theory, and contemporary art, with a particular focus on post-aesthetic approaches and practice-led research. Andrews has exhibited internationally at festivals and institutions in Edinburgh, Rotterdam, Berlin, Hong Kong, São Paulo, and Helsinki, as well as widely across Australia. In 2001, he presented a retrospective of his work, spanning 1983 to 2000, as part of the Sydney Film Festival.

Lemon With No Siblings (Bea Macdonald, 2024)



UK - 5’59”

In an intimate portrait of the filmmaker’s grandmother, this short film brings us close to the details, sounds and textures of their exchanges after 10 years apart. However much remains intangible and almost magical, ruminating on time, loss, love and rediscovery.
Bea Macdonald is a London based artist. Her work weaves together documentary and poetry, reflecting on memory, mythology and place. She works predominantly with analogue film, and this has led to commissions from Deptford-X and Sinema Transtopia. She also runs a workshop series called ‘Analogue Dreamscapes,’ which explores dreaming as a form of inner political resistance.


Potemkin Piece (Justin Clifford Rhody, 2022)



USA - 1’35”
  A collaborative deconstruction/destruction of a Battleship Potemkin 35mm trailer created with nearly 80 collaborators through the mail during lockdown. Each person was sent half-second long strips of the film to manipulate in any way they wanted. Once returned, the film strips were spliced together in a new sequence creating a chance-driven score from the optical soundtrack. A messy experiment in montage and cut up techniques made by a diverse cast of artists, friends and loved ones.


Justin Clifford Rhody is an artist and curator based in New Mexico, USA. His work—spanning film, photography, and sound—has been exhibited widely across the U.S. Rhody is the co-founder of No Name, a microcinema, gallery, and community space in Santa Fe dedicated to showcasing international and local experimental, avant-garde, and repertory films, videos, and visual art. He also runs Physical, an independent record label that has released several records by K / S / R, the free-improv band he performs with alongside frequent collaborators Ben Kujawski and Abigail Smith. 

Summer Heat (( part ii )) (Sam Spreckley, 2017)



UK - 5’44”


Summer Heat (( part ii )) is an experimental film based around a strange old voyeuristic Mountain Film company production.   Through a process of physical distress, the artist intervenes; allowing the film to blister, peel, and tear from the heat of the projector bulb.  Individual frames are manipulated and then restructured digitally.  Finally in a sort of hypo-manic sonic investigation every little movement is given some unique sound.
Sam Spreckley is a Scottish video, film, and sound artist. While his practice spans filmmaking, sound design, illustration, and graphic design, his recent work focuses on found 8mm/Super 8 film and collage-based explorations. Spreckley’s work has been exhibited at the Scottish National Gallery of Modern Art and the Aberdeen Art Gallery, as well as internationally in Mexico, the United States, Germany, Italy, and Japan.

Kosmos (Thorsten Fleisch, 2004)



Germany - 5’26”

Crystals grown on 16mm film. Mystical qualities shine straight to the screen. Unfiltered, only aided by light which gracefully breaks its rays into rich visual textures.



Thorsten Fleisch is a Germany-based experimental filmmaker whose often cameraless work explores the materiality of cinema through direct engagement with the celluloid filmstrip. His films have been screened at festivals worldwide. Shortly after completing his studies at the Städelschule, he made Blutrausch / Bloodlust, for which he won the Ann Arbor Film Co-op Award. He has been commissioned to create work by Red Bull, Gaspar Noé, Basement Jaxx, and the Prenzlauer Berlinale. Fleisch has also served as a jury member for the Ann Arbor Film Festival, Vienna Shorts, and Punto y Raya.


Serial Parallels (Max Hattler, 2019)



Hong Kong - 9’00”


This experimental animation by Max Hattler approaches Hong Kong’s built environment from the conceptual perspective of celluloid film, by applying the technique of film animation to the photographic image. The city’s signature architecture of horizon-eclipsing housing estates is reimagined as parallel rows of film strips: Serial Parallels.

Max Hattler is a German media artist working primarily with animation and audiovisual performance. His work explores the relationships between abstraction and figuration, aesthetics and politics, sound and image, precision and improvisation. His short films and video installations have been presented internationally at museums and galleries. Hattler holds a doctorate in fine art from the University of East London (2014) and is an associate professor at the School of Creative Media, City University of Hong Kong. 


The Primal Wound (Carolin Meyer, 2024)



UK - 2’18”

The Primal Wound is a poetic meditation on the foundational loss experienced through separation, particularly in the context of adoption. Through visceral imagery and layered sound, the film explores the transformation of the mother into the Other, the birth of desire from absence, and the enduring search for belonging.

A full artist’s statement on this work can be found here.

Carolin Meyer is a London-based interdisciplinary artist and DJ whose work explores (dis)embodiment through multisensory interventions spanning video, sculpture, sound, writing, and performance. Informed by her transracial adoption (Kurdish Yazidi to German), she engages with themes of identity, racialisation, techno-social transformation, and de-anthropocentrism. Her work has been published in The Sociological Review, Still Point Journal, Vernacular Journal, and Protein. In 2023, she was appointed a Creative Fellow at UCL, where she explored music as research. She is an Acme studio holder and part of the 2025 cohort at School of the Damned.


Death Tape (Matt McKinzie, 2025)

 

USA - 4’30”
A nature study filmed on Super 8mm, in which the filmmaker encounters something unexpected and even a bit sinister.
Matt McKinzie is a multimedia artist whose work encompasses writing, filmmaking, curation, archival research, and performance. His films have screened at MIX: The New York Queer Experimental Film Festival, Wicked Queer: The Boston LGBTQ+ Film Festival, 8-Ball TV, Film Diary NYC, and the Film-Makers' Cooperative, where he currently works as Artist Liaison. McKinzie has researched and curated programs of film and video art that have screened in the U.S. and internationally at such venues as Spectacle Theater (New York), Millennium Film Workshop (New York), Mana Contemporary (New Jersey), and Cinema Catalunya (Terrassa, Spain). In 2022, Matt was named a ScreenCraft and WeScreenplay Finalist.

Words of Water (Ellie Borzilleri, 2024)


USA - 4’30”
A short 16mm exploration on the ephemeral ways movement and direction interact, contrast, and fight one another within the frame. Words of Water uses water as a physical tool of representation for the structures that bind our existence and the transient motions of life.
Ellie Borzilleri is a New York-based interdisciplinary artist working in film, video, painting, and animation. Her work explores memory, identity, and attachment through layered visuals and immersive storytelling. Drawing on childhood aesthetics and feminine identity, Borzilleri bridges analogue and digital media to evoke emotion and reframe personal and collective memory.








STST Film Club X Dream Sequence #2


     
Thursday, May 1, 2025 · 7 - 9.30pm GMT

Staffordshire St
49 Staffordshire St London SE15 5TJ

Dream Sequence presents an evening of contemporary experimental short films from exciting filmmakers from around the world.

This carefully curated programme features works that challenge conventional cinematic and narrative forms, embracing visual art as a central mode of expression. As non-narrative films, these works explore the materiality of film itself, pushing the boundaries of the medium through innovative filmmaking techniques and unconventional aesthetics.

Tickets available here. 



¡PíFIES! (Ignacio Tamarit, 2004)



Agentina - 3’57”

“¡PíFIES! (from the Spanish slang “mistake”) is the kind of film I would like to see when I screen home movies, but that I never end up finding. From clippings of my own collection of home-movies, I built a rhythmic collage where at first the focus was placed on the films’ technical problems: violent pans, out of focus, insane zooms, abrupt cuts or what would have been discarded by the filmmaker instead of being kept in the final cut. However, ¡PíFIES! ends up being an eulogy to the home movie filmmaking, to the construction of these amateur handmade films, to the filmmakers who shoot their families, their exotic trips and their daily lives so that they can be remembered.”
Ignacio Tamarit is a filmmaker, teacher and musician. He studied at the Centro de Investigación Cinematográfica and at the Facultad de Filosofía y Letras, Universidad de Buenos Aires. He has given film workshops at the Big Sur Contemporary Art Gallery, C3 Centro Cultural de la Ciencia y Lumiton Museo del Cine Usina Audiovisual, where he also works as an archivist, programmer and film curator.


Films To Break Projectors (Tim Grabham, 2016)



UK - 5’06”


Films to Break Projectors glues, scrapes and splices 35mm, 16mm and 8mm film to create unprojectable celluloid collages. Reanimating the material reveals traces of ambiguous narratives that emerge from the complex loops.

Tim Grabham (AKA iloobia) is a multidisciplinary artist who has independently produced still and moving image work for over 30 years, with a tendency toward experimental, handmade, and unconventional approaches. Comprising short film, animation, photography, and installation, as well as documentary, expanded documentary, and long-form features, his work has been presented internationally at cinemas, festivals, on TV, online, and in galleries. His work has a particular focus on the manipulation of archive and obsolete media formats, the reconfiguration of abandoned, decaying, and orphaned celluloid material, and hand-worked, bespoke analogue processes.


Revenants: Compound Horizons (Sapphire Goss, 2024)



UK - 9’00”

Strange worlds slowly emerge from chemical chance; landscapes excavated from emulsion. The edges of the frame make horizons, punched holes are suns or moons, static and grain bleeds into light on water into stars, chemicals form into clouds. These are spectres of light and time: one foot in the material world, one in the ether. The sound is made using field recordings blended with samples from 16mm educational films, warping and distorting with the optical strip; material and form merging in and out with each other and becoming indistinguishable. This work explores and shapes the terrain of the celluloid.

Sapphire Goss is a UK-based artist working with moving image, photography, and other lens-based media. Her work explores the fragility of time, place, and perception through analogue film, sound, and material experimentation, creating shimmering, otherworldly imagery—an “analogue uncanny” where light, time, and chemicals collide. Her work has been exhibited internationally, including at the Barbican (London), ArtScience (Singapore), Tate Exchange (London), By Art Matters (Hangzhou), and Maysles Centre (New York). Goss has received numerous commissions and awards.


eRoding (Will De Ritter, 2024)



UK - 1’44”
  An ongoing work exploring the impact of chemical pollutants, found in water foraged from the River Roding, on celluloid film.

Film souping is the process of altering the chemical properties of a film by soaking it in liquid(s) prior to development. This film was souped, for varying amounts of time, in water taken from the River Roding, which has the highest level of PFAS pollution of any river in England.
Will De Ritter is a London-based filmmaker. He works with celluloid film and photochemicals to produce films that tread a fine line between experimental and genre cinema. He is interested in using obsolete photographic technology to achieve effects that are digitally unachievable, while also developing sustainable solutions for photographic practices. De Ritter’s most recent film, She Culls Seagulls, has been shortlisted for the FluxusMuseum Prize for Experimental Video 2025.



Virage (Farzin Farzaneh, 2005)

 

Canada - 5’46”
A film about turning. Shot in 16mm black and white. The frames were printed on paper of various colours and textures, hand-painted and reshot in 35mm. The soundtrack consists of recordings of ordinary household sounds that were manipulated and mixed together.


Farzin Farzaneh is a Montreal-based filmmaker and visual artist whose practice spans painting, drawing, filmmaking, and photography. His work has been widely exhibited in Canada and internationally. He has taught art and filmmaking at all educational levels and continues to explore a broad range of techniques and styles in his work.



Protest (Nicci Haynes, 2023)



Australia - 7’09”


A film about protests using footage collected by the filmmaker over several years. The images in the film were laser-etched into hand-coloured 16mm film using a laser cutter.
Nicci Haynes is an Australia-based artist whose interdisciplinary practice spans drawing, printmaking, video, and performance. Her work explores themes of communication, movement, and the body, often through performative and gestural mark-making. She teaches at the Australian National University and is active in the Canberra arts community, including Megalo Print Studio. Haynes has received several awards, including the M16 Drawing Prize and a Canberra Critics Circle award.



Memories of the Shoreline, 1-4 (Chloe Charlon, 2021)


UK - 4’44”

Four films that transverse the coast line, offering mini studies of marine and flora life, whose images are composed frame-by-frame in the camera whilst filming.

The individual titles of the films are: Restless Quarrels Between Closest Companions, The Mutterings of Maritime Lichen, Chlorophyll Lessons on Rays and Rhythm, and Those Who Wait Up at Night.

Chloe Charlton is a Glasgow-based moving image artist and recipient of Creative Scotland’s Nurturing Talent – Time to Shine Fund. Her work has screened at Oberwelt Gallery (Stuttgart), Radiophrenia, and CCA Glasgow. Rooted in an ecological perspective, her films explore the materiality of the geological world through the camera’s eye, offering archaeological traces of the present that question the extractive forces of the Anthropocene.



Immersio (Sophie Bouloux, 2024)



France - 4’45”

"Caelum mergens sidera"

A sonic and visual experience exploring duality. Immersio evokes light and shadow, the conscious and the unconscious, the blurring of the senses in a chaotic world, and the finitude of being.


Sophie Bouloux (aka Sophie.B) is a French artist and director working across concrete poetry, photography, video, experimental cinema, and sound (under the name Cut-Up). Her practice blends poetry and experimentation to create intimate, unconventional worlds. She was guest of honour at Resistenza Analogica (2007) and OFNI (2016), and in 2019, a solo exhibition of her work was held at the Edmond Rostand Media Library in Paris. Her work has screened internationally.


Film Loop 31: Shinsendo & Film Loop 34: Ryoanji (Michael Lyons, 2016-2017)


Japan - 1’30”  /  Japan - 1’30”

These short films are part of an ongoing series of digital loops based on segments of hand-processed 16mm film. Various techniques are used to create the loops: patterned tape is attached to clear leader; 16mm film is used in 35mm and medium format cameras; and expired film is hand-processed using household ingredients such as instant coffee and powdered green tea.
Michael Lyons (Canada/Scotland) is a researcher and artist based in Kyoto, Japan. His practice primarily involves experimenting with the materiality of film, exploring its physical and chemical possibilities. He co-founded the International Conference on New Interfaces for Musical Expression and is active as both a filmmaker and sound artist. He is currently Professor of Image Arts and Sciences at Ritsumeikan University.




An Ode to 10k Steps (Sharon Anatole, 2025)



UK - 1’46”

An Ode to 10k Steps is an experimental micro-short filmed on a walk from Archway to Tottenham Court Road. Shot during a period of personal stagnation, it reflects on how movement through the city can restore a sense of vitality. The film explores the shift from space to place—where once-ordinary streets become meaningful through memory, culture, and emotional connection.
Sharon Anatole is a visual anthropologist who unpicks the dense interconnections between technology and identity. Through video works that queer 'content', she draws attention to our often ignored positionality online.



STST Film Club X Dream Sequence


     
Thursday, April 3, 2025 · 7 - 9.30pm GMT

Staffordshire St
49 Staffordshire St London SE15 5TJ

Presenting 10 contemporary experimental short films by 10 exciting and emerging filmmakers from around the world. No theme. No rules. Expect a kaleidoscopic night where different ideas, themes, textures, and filmmaking techniques can collide.

Tickets available here. 



I Am Still Here (Sissi Kaplan, Vivian Wang and Cyril Wong, 2020)

Singapore - 11’43”


I Am Still Here is a found footage film that combines materials from an old National Geographic animal documentary with a series of photographic portraits of a woman in a remote landscape. Set in a post-civilisation vista, she lives with dead and living animals, their reproductions, as well as the encroaching planets. Her alienation, solitude, and quest for meaning are juxtaposed with the natural instincts of animals and the invariable trajectories of planets, hinting at a larger system of time and space, gesturing at alternative possibilities for navigating the world. In this visual poem, image, sound, and text release distinct yet interconnected mental and emotional spaces, orbiting each other to form new and incessant constellationsSissi Kaplan is a Hong Kong-based visual artist working with photography, video, and text. Her work focuses on the fictionalisation of the everyday, employing solitude, emptiness and her own performing body to transfigure found situations and reveal hidden aspects of human nature. Her work has been exhibited internationally.

Vivian Wang is a Singapore-based composer, sound artist, and multi-instrumentalist. She is a member of art rock group The Observatory and ambient drone duo ARCN TEMPL.

Cyril Wong is a Singaporean poet and writer known for his emotional and lyrical works that explore themes of identity, love, and human connection. Wong has published several collections, including The Lover's Tongue and Unmarked Treasure, and is recognised as a prominent contemporary voice in Singapore’s literary scene.


The Last Seaport of Limerence (Melody Woodnutt, Crys Cole and James Rushford, 2025)

Australia - 6’11”

A seaport that sits liminally between hope and uncertainty. The two channel 16mm film piece finds a heterotopian quality due to an anachronistic and mirroring approach. The piece collapses Woodnutt’s previous films and her unused film negatives into a new liminality between her body of works. In doing so, a mysterious new ‘topia is found at the sea’s edge. 

The work was created in collaboration with the experimental music duo Ora Clementi.
Melody Woodnutt works primarily within the expanded field of 16mm analogue moving image film. Her artworks take form as large-scale immersive installations, expanded cinema, short 16mm films, or printed photographic film stills. Screened internationally, Woodnutt’s work often explores unknowable realms such as the sea, cosmos, or spectral worlds, alongside explorations of intimacy and poetics. She is an active member of Artist Film Workshop: an artist-run initiative and film lab for analogue small-gauge film. Biennially, she is the artistic director of the international film platform and residency, The Weight of Mountains.

Ora Clementi is Canadian sound artist Crys Cole and Australian composer/performer James Rushford. Their work is disorientating and highly performative, utilising vocal mirroring and both electronic and handmade instruments. Their critically acclaimed 2021 album Sylva Sylvarum was released via Black Truffle.



Maspeth is America (Ben Kujawski, 2024)

USA - 6’59”

A semi-fictional working-class lamentation captured on the outskirts of industrial areas in New York City. Photographed in black-and-white Super 8, the film reverberates the sentiments of a worker grinding away another day in a never-ending cycle of generational labour.Ben Kujawski is a New York-based filmmaker, musician, and photographer. Having lived in the American Southwest and on both coasts of the US, his work examines themes of blue-collar life and the American desert as a place of unchecked freedom. Kujawski's work has been exhibited at the Museum of the Moving Image, Pace Gallery, and The Woodstock Film Festival. He is also the co-founder of No Name Cinema in Santa Fe, New Mexico.
 

Mythology of Memory (Justin Brown and Adrian Cousins, 2024)

USA/UK - 6’08”
  Mythology of Memory is a collaborative video installation consisting of Cousins’ elegiac home movie alchemy, and Brown’s palimpsestic layering of the footage into a shifting, dreamlike collage. 

Justin Brown is a multidisciplinary artist who has been making films for over twenty years. By scavenging and layering found footage, and personal videos, he seeks to evoke a ghost-like sense of nostalgia. Ordinary moments captured by technology are destroyed and then reimagined in an attempt to make them more universally human.  

Adrian Cousins shoots Super 8 and 16mm film, hand-processing it using custom chemical techniques. Embracing an intentionally amateur aesthetic, his work focuses on capturing everyday life and fleeting moments, often highlighting minute details illuminated by transient natural light. His approach aligns with Jonas Mekas’ philosophy: “I make home movies - therefore I live. I live - therefore I make home movies.”



Abbaglia e Svanisci (Riccardo Tesorini, 2024)

Italy - 6’08”

VHS tapes are manipulated, distorted, and reinterpreted through the filmmaker’s use of video circuit bending. In doing so, the fragility of personal and collective memory is examined, with the unpredictability of the process often resulting in surprising outcomes. The accompanying soundtrack utilises self-built audio circuits, modular synthesis, and digitally processed aluminium sounds, all shaped by custom algorithms.
Riccardo Tesorini lives and works in Bologna, Italy. His work spans sound design, sound art, and sound installations. As a composer, he has produced music for theatre and soundtracks, as well as his own electro-acoustic project Haou Nebout. His compositions and performances have been presented all over the world, including the United States, Japan, Canada, South Korea, Germany, Austria, Italy, France, United Kingdom, Portugal, Finland, Estonia, and Cyprus.



About Wintering - Parts 1 - 3 (Nina Maria Allmoslechner, 2023 - Ongoing)

Austria/Italy -  2’49” (Part 1) / Austria/Spain - 3’03” (Part 2) / Austria -  4’58” (Part 3)


About Wintering is an ongoing series of shorts that documents periods of retreat and personal reflection for the filmmaker. Each part is released annually and shot entirely on a single roll of Super 8 film. The title of the series references Katherine May’s 2020 bestselling book Wintering: The Power of Rest and Retreat in Difficult Times.

Part 1 explores Allmoslechner's mental health struggles and loss of sense of time, while Part 2 sees her confronting personal and collective grief during an artist residency in Spain. Finally, in Part 3, she explores her troubled relationship with her body, stemming from the premature puberty she experienced at the age of seven and a half.
Nina Maria Allmoslechner is an Austrian photographer, filmmaker, and visual artist working between London and Tyrol. She works with analogue film formats, and her projects are deeply personal and diaristic, exploring themes such as mental health, womanhood, family, and home. In 2022, she was awarded the DYCP artist grant from Arts Council England, followed by the Goethe Institute project grant in 2023. In 2024, she received the BFI Doc Society film funding award. Her work has been exhibited internationally. Allmoslechner also co-organises Fail Better Talks, a London-based series where artists discuss how their greatest creative failures have helped them learn and grow.



A Life Half-Lived (Rob Munday, 2024)

UK - 7’32”


A propulsive journey through places seen, dreams glimpsed and lives cut short. Within kaleidoscopic loops we find the oppressed and suppressed. From kidnapped Argentinians to pro-democracy campaigners and proponents of socialist body culture. And then the individuals: an astronautical scapegoat, an accidental artist’s muse and the much-studied victim of a botched lobotomy. Time flies by in a whirl of faces, dates and developing structures that build into a lattice of memories that refuse to die.Rob Munday is a London-based animator, director, and writer whose work explores the personal, the subjective, and the peculiarities of everyday life. His short films span various genres, from drama and romance to documentary and comedy. His animations, in particular, are surreal with a unique tactile quality, using a cutout technique that incorporates paper, found photographs, and ink drawings. His work has been screened internationally, with official selections at the BFI London Film Festival and South by Southwest (SXSW).



We Breathe Each Other In and Out of Existence (Archer Boyette, 2021)

USA - 5’25”

A celebration of the magic of plant life. Created using plants harvested in Pisgah National Forest.

The film was originally presented as an installation incorporating 16mm clear leader with adhered botanicals, digitised projections, environmental field recordings, and tree stumps.Archer Boyette is an interdisciplinary artist from Western North Carolina working predominantly in time-based media. Her handmade 16mm films playfully engage with the materiality of celluloid to examine human and other-than-human coexistence, interdependence, and sanctity. Archer received an MFA in Experimental and Documentary Arts from Duke University, where she currently works as an instructor and film programmer.


I Have Done It Again (Mor Fleisher Leach, 2023)

USA - 7’32”

A study of identity through language, food, and bandages. An experimental short shot on Super 8 film.

Mor Fleisher Leach is an experimental filmmaker based in Texas, USA. Working exclusively with Super 8 film, her short films have a diaristic quality, often exploring themes of identity and place. Her work also highlights the materiality of film itself, whether through hand-painted scenes or the intentional inclusion of imperfections found on the film strip, such as light burns and scratches. Her most recent work — an installation called Contortions — was exhibited at Austin, Texas' Motion Media Arts Center.



Shape (Sida Wang, 2024)

Australia - 5’36”

Shape is an experimental short film that examines the intricate and often unnoticed conditioning of human life within urban environments. By adopting an observational stance, this project documents the daily ebb and flow of Sydney's city life, capturing fragments of moments that, when pieced together, reveal the subtle ways in which the urban landscape shapes and regulates human behavior.

Sida Wang is a filmmaker currently working between China and Australia. She recently completed a Master's Degree in Social Science and Arts at the University of Sydney. Working with both digital and analogue formats, her work explores posthuman anxieties in the modern world.



Dream Sequence Presents: Films By Martine Rousset




Saturday, February 15 · 4 - 5:30pm GMT
SET Social
55a Nigel Road London SE15 4NP

Join us at SET Social for an afternoon screening of Mansfield K and Chants: two stunning poetic works by French experimental filmmaker Martine Rousset.








Manfield K (1988)

France - 17’12”

Readings. A place. Purity of lines. Fine angles. 
Dominance of whites and blues. 
The fragility of tapered glass. 
A visual evocation of the writing of Katherine Mansfield






Chants (1995)
France - 22’03”

Scrutinising the image of this face, this gaze, we see the traces of raw stories, mineral light, and the fragments of an endless dream…
The insistent images collide, to the point of abstraction, with decomposed time, with the chaos of gleaming stones. 
Of this returning face, nothing is said.
The gaze cannot be deciphered. 
The illusion, even in the darkness, remains mute. 
The signs of an absent song.




About Martine Rousset

Martine Rousset studied Philosophy of Cinema at Université Paul-Valéry Montpellier (1970 - 1976). She went on to work alongside Suzanne Pagé in the audiovisual department of Musée d’Art Moderne in Paris (1979 - 2020).

Martine Rousset is an important and influential figure within French avant-garde cinema, having co-founded the Coopérative des Cinéastes in 1977 with Patrice Kirchhofer and Gérard Courant. In 1991, she co-founded the film group Dissolution alongside Jennifer Burford, Cécile Fontaine, Vivian Ostrovsky, Marcelle Thirache, Françoise Thomas, and Frédérique Devaux. The group is dedicated to conducting critical analysis of their combined work and to enabling the programming of their films throughout the world.

Rousset’s films have been exhibited at:

Berlin Film Festival (1980), MNAM, Paris (1989), Berkeley (1990), MoMA, New York (1995), Feminale, Cologne (1992/1994/1996), Osnabrück (1996), IMPACT (1996), Oberhausen (1998), Scratch (1998/2001/2003), Riga (2002), Pesaro (2003), Los Angeles Film Forum (2004), Festival des cinémas differents, Paris (2005), La Enana Marrón, Madrid (2005), Rencontre des labos de Bruxelles (2005), 10 ans de l'Abominable (2006), Taiwan Women in the Arts (2007), Les Inattendus, Lyon (2007), Belgrade Alternative Film Festival (2008), Les Écrans Documentaires (2008).





Dream Sequence #2


     
Friday, November 8, 2024 · 7 - 10pm GMT

Hundred Years Gallery
13 Pearson Street London E2 8JD

Join us at Hundred Years Gallery for another installment of Dream Sequence.

We’ll be showcasing a series of contemporary experimental shorts from a whole host of exciting fimmakers and artists from around the world.
Expect a kaleidoscopic night where a ideas, themes, textures, and filmmaking techniques collide.



DON’T KNOW WHAT (Thomas Renolder, 2019)

Austria - 8’20”

Sat behind a table in an otherwise empty space, Renolder addresses the viewer and proclaims, ‘I don’t know what I’m doing.’ His words, breaths, and mannerisms are transformed into repetitive and rhythmic slapstick sequences. While drawing humour from the mundane, the film explores the creative potentials found in explorative play.Thomas Renolder is an Austrian artist and curator whose work spans music, painting, film, installation, and performance. Since 2014, he has lectured in animation studies at the Academy of Fine Arts in Vienna. As a film researcher, he has also authored several publications on animation. He is also the director of the One Day festival, an animation screening event in Vienna that has taken place since 2004.


Marina Aleksander (NOW AND TOMORROW, 2022)

Denmark/UK - 12’31”

Marina Aleksander explores the fragmented memories of Andrei Tarkovsky’s sister, Marina, and her husband, Alexander, through a collection of photographs taken since the 1950s. By layering and intertwining these images, the film delves into the multiple dimensions of memory—those that endure, those forgotten, and those both joyful and burdensome. As the past collages with the present, viewers are invited to reflect on how memories shape and inhabit our lives. Originally created in 2018 under a different title, the film was re-edited and retitled in 2022 after further development. NOW AND TOMORROW is an artist duo, founded by Sergei Sviatchenko (DK/UA) and Noriko Okaku (UK/JP) in 2014. The artists met in July 2010 and began collaborating after discovering a shared fascination with collage art. Okaku’s own practice explores the existence of impalpable reality, while Sviatchenko's explores everyday objects with the use of photography and collage elements. Their work has been exhibited internationally.


so come the storms of winter (+ other musings) (Alexis Parinas, 2024)

UK - 5’00”

A mixed-media ode to cycles, communal making, play, and nurture. The film features self-portraits, collages, a game of mahjong, and the creation of two dyed fabrics: made by many hands from plants, flowers, food waste, and other natural and sustainable materials.Alexis Parinas is a London-based artist and youth arts facilitator working across moving image, eco-printing, and installation. Their practice explores the intangible cultural heritage of the Philippines, specifically the endurance and transformation of Filipino food traditions, folktales, folk dance, and spirit-based rituals. Their work has been exhibited at the Barbican Centre, Wysing Arts Centre, Millennium Film Workshop, and San Mei Gallery.
 

Empty House (Ben Kujawski, 2022)

USA - 5’29”
  Empty House explores the filmmaker’s experience of visiting their foreclosed childhood home; the abandoned structure still containing a stark yet decomposing layer of familiarity. Memory and reality splinter one another and that which was sought to be comprehended quickly becomes indecipherable.Ben Kujawski is a New York-based filmmaker, musician, and photographer. Having lived in the southwest, and on both coasts of the US, his work examines themes of blue collar life and the American desert as a place of unchecked freedom. Kujawski‘s work has shown at the Museum of the Moving Image, Pace Gallery, and The Woodstock Film Festival. He is also the co-founder of No Name Cinema in Santa Fe, New Mexico.

 

Brackets (Cuttfruit, 2024)

UK - 1’27”

Brackets explores the intertwined nature of memory and technology and the notion that viewing the past through a digital lens can corrupt, transform, and erase the truth of memories.

Cuttfruit is a composer, music producer, and visual artist based in London. Their work explores gradular video synthesis and 3D modelling technologies. 



Everything Turns... (Aaron Zeghers, 2016)

Canada - 12’32”

A study of the mythology of numbers, from 1 to 12, captured in a year-long record of space, movement, and the passing of time in historic locations around the world. Everything turns, everything revolves, and everything feels the deep score of time.Aaron Zeghers is a Winnipeg-based filmmaker. He is director of the Gimli Film Festival and founder of the Winnipeg Underground Film Festival. His experimental films and expanded cinema performances explore the use of analogue film formats, obsolete technologies, in-camera effects, and various types of animation. His work has been screened at prestigious film festivals around the world.



Great Sale Wood (Michaela Davis, 2024)

UK - 2’02”

Taking half a year to complete, this animated short comprises over 2,800 hand-printed cyanotype frames. The film explores themes of ecology, climate crisis, and spiritualism.Michaela Davis is a London-based filmmaker whose experimental works explore nature and spirituality. Her latest film Great Sale Wood was exhibited at the William Morris Gallery in London and featured in Dazed Club Spotlight, January 2024.


Advice for Light Baring Frogs (A'isha Odera, 2024)
UK - 2’02”

In this film, the filmmaker harnesses dance in an active veneration of their ancestry, emulating the Engungun dance of Nigerian Masquerade culture. The piece seeks to honour Nigerian history, exploring dance as a practice of freedom and revolution.A’isha Odera is an anti-disciplinary artist, curator, and researcher whose work explores Pan-Africanism and Afrofuturism. Her work traverses the mediums of sound design, movement, image-making, and poetics to explore art as a vehicle for freedom and emancipation.


Yesterday and Yesterday (Michael Dietrich, 2021)
Austria - 5’45”

A film about observations made in the spring of 2020 and 2021, in which the filmmaker observes a marked change in his natural surroundings, brought on by the global pandemic.Michael Dietrich is an Austrian artist who currently studies at the Academy of Fine Arts, Vienna. Working across photography, video, and sound, his work explores the relationship between society and space, and interventions in nature and the environment. His work has been exhibited internationally.


Wolf (Luke Casey, 2021)
Hong Kong - 3’11”

In this short film — the second in a series that explores the filmmaker’s dreams — we follow the strange movements of a mysterious woman.Luke Casey is a director and photographer based between London and Tokyo. His work blends documentary with surrealism, often incorporating stop-motion, CGI, and playful set design. His use of magical realism and off-beat humour offers tender, unexpected explorations of identity and city life. He has produced work for various brands, including Calvin Klein, Vans, Mulberry, Helmut Lang, and Marc Jacobs.


Dream Sequence #1



     
Thu, 5 Sep 2024 19:00 - 21:30 BST

SET Social
55a Nigel Road London SE15 4NP

Join us at SET Social for Dream Sequence, an anything-goes experimental film night.

From surrealist animation to analogue video synthesis and everything in between, expect a kaleidoscopic night of experimental shorts from a whole host of exciting filmmakers and artists. No theme. No rules. 



Lepidoptera (Edd Carr, 2022)

UK - 3’37”

A moving image work depicting the interwoven narratives of insect extinction, the life cycle of a butterfly, and childhood trauma. Each scene was hand-printed using a different method, incorporating natural elements including rain, soil, and leaves.Edd Carr is an award-winning artist and researcher based in the UK. His films - exhibited globally - explore the adaptation of photographic processes into moving image. Carr is also co-director of the Sustainable Darkroom, an organisation committed to developing and advocating for eco-friendly alternatives in analogue and digital photography. 


To Do (Saul Pankhurst, 2022)

UK - 3’14”

A reflection on productivity and the self-improvement industry, explored through the filmmaker’s attempts to participate in a modern mindfulness exercise.Saul Pankhurst is an artist and filmmaker working within creative non-fiction. His practice adopts highly collaborative approaches that scrutinise both the role of the filmmaker and the complex ethics involved in representing the stories of others. Based in London, Saul works as a director of photography, animator and editor within artists’ moving-image. His work has shown at festivals worldwide, including Alchemy Arts Festival (UK), Ann Arbor Film Festival (USA), Raindance Film Festival (UK), London International Animation Festival (UK), Glasgow Short Film Festival (UK) and Aesthetica Short Film Festival (UK).


Coiled Fall (Sergej Vutuc, 2018)

Unknown - 7’49”

A music video for Coiled Fall by Zaïmph, comprising Sergej Vutuc’s Super 8 film Tourné Monté. Edited in-camera, the film is a hypnotic and disorientating visual poem in which places and figures never fully emerge. Sergej Vutuc is a multi-disciplinary artist whose work spans photography, filmmaking, book making, expanded cinema, and live performance. Working between Rakalj, Heilbronn, and Paris, he explores the materiality of film and photography by physically manipulating and destroying his footage and images. Vutuc’s work has been exhibited internationally. 
 

Seashells from Yalova, Penzance and Rye (Ela Kazdal, 2024)

Türkiye/UK - 4’57”
  A visual poem that meditates on the interconnection of memory and place.Ela Kazdal is a London-based multidisciplinary artist whose work explores the intersection of materiality, image, and personal history. Working primarily with physical film formats, she utilises contemporary technologies to push the boundaries of the film strip. Her work is deeply engaged with the dual nature of moving images as both physical objects and projected experiences.

 

they will bury us in code (Autojektor,  2023)

UK - 3’59”

Deepfake technology is used to replace the faces of the past with uncanny digital replicas.
Autojektor is a London-based experimental filmmaker and sound artist. Her films, often exploring themes of identity and gender, emerge from her exploratory cameraless filmmaking practice. Working with found Super 8 and 16mm footage, her films are pushed to their material limits as a result of various destructive analogue and digital processes.


bill evans bill evans bill evans - very very very early (Autumn Green, 2024)

USA - 6’17”

Rythmic and chaotic textures emerge from this datamoshed televised performance by jazz musician Bill Evans and his band.Autumn Green is US-based artist and musician. Utilising VHS technology, Green’s vibrant abstract video artworks explore the boundless visual possibilities of video synthesis. 


PIXELA-ZZZ (Lucy Ellis, 2024)

UK - 1’48”

Abstracted figures dissolve and merge into one another through the filmmaker’s use of datamoshing and databending techniques. A VHS transfer process further enhances the imagery, introducing grain and colour distortions that add textural complexity to the work.Lucy Ellis is a London-based experimental animator. She creates video art by repurposing scrap and found materials into new identities and narratives that diverge from their original purpose or intent. The textures of these materials play a vital role in her practice, evoking themes of memory and the passage of time. Ellis was recently selected as the winner of the inaugural DAZED and Rabanne arts factory, culminating in the exhibition of her work at Miami Art Basel 2024.    


The Domesticated Cat (Benny Douet, 2024)

UK - 1’20”

Audio from a 1980s PBS documentary is repurposed in this comedic animated short, exploring the magical and mysteriously sinister intentions of domestic cats.Benny Douet is a London-based visual artist who specialises in illustration and animation. Through his artistic practice, he seeks out new ways to tell stories through a strange and unconventional lens.


Cyborgian Monologue: Exploring Analog and Digital Consciousness (Egle Saka, 2023)

UK - 1’20”

Produced using a combination of LIDAR, AI and audio and visual video synthesis technologies, Cyborgian Monologue... presents the first-person perspective of a malfunctioning cyborg as it contemplates its own consciousness.Egle Saka is a London-based video artist, working with new media and analog technologies. Through video, sound art, site-specific projections, and live performances, her work explores the beautiful imperfections she discovers in audio-visual noise and glitches. Her work has been exhibited internationally and at renowned London galleries such as Saatchi and Jealous.


Bouquet (Sam Brewster, 2024)

UK - 1’48”

A death knell tolls and a transition begins.Sam Brewster is a London-based filmmaker and illustrator whose films seek to probe and recontextualise banal and habitual aspects of everyday life. His films have been exhibited at Cannes Film Festival, PÖFF, and the London Short Film Festival. He recently won the Canal 180 competition 9:16, which led to an invitation to complete a residency in Aveiro, Portugal.