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Through the pattern of this film a ‘Test’ at Lord’s runs like a thread and a broadcast commentary on the match is imposed on the background of cricket more
Through the pattern of this film a ‘Test’ at Lord’s runs like a thread and a broadcast commentary on the match is imposed on the background of cricket as a game, a craft, an interest of a people, a piece of history. The craftsmen are shown who make the ball and the bat–that ‘fourth straight stick’ with which the batsmen defend ‘the other three’. The craftsmen are shown who play the game, from W. G. Grace in the ‘nets’ to D. G. Bradman and Denis Compton in the thread of the ‘Test’. The history of the game is epitomized in the Long Room shots at Lord’s and from there the camera moves to the village green; to the London side- street where the urchins play on a ‘bumping pitch’; to South Africa, and India, where in the ‘blinding light’ there is often ‘an hour to play and the last man in. close
Written and co-directed by 18-year-old Tunde Ikoli, this was made, he said, 'to show people what we have to put up with'; and its immediacy in dealing more
Written and co-directed by 18-year-old Tunde Ikoli, this was made, he said, 'to show people what we have to put up with'; and its immediacy in dealing with the repressive influences on teenagers living in the East End of London often compensates for its lack of technical gloss. Particularly effective are a pointless search by goon-like policemen, and a café conversation between Tunde's friends, both of which do more to 'explain' delinquency than all of your glib sociological theorising. Like all neo-realism, Tunde's Film has the authority of performers re-enacting lived experience rather than acting. close
A richly lyrical documentary celebration of the vibrant beach life in the North East of England, constructed entirely out of Sirkka-Liisa Konttinen's black & white photographs.
A richly lyrical documentary celebration of the vibrant beach life in the North East of England, constructed entirely out of Sirkka-Liisa Konttinen's black & white photographs. close
Director Jenn Nkiru authors a personal and powerful exploration of blackness through piecing together dreamlike portraits with stunning archival footage more
Director Jenn Nkiru authors a personal and powerful exploration of blackness through piecing together dreamlike portraits with stunning archival footage that includes Afrofuturism pioneer Sun Ra and revolutionary organization the Black Panther Party. close
Abandoned Goods is an essay film exploring the journey of one of Britain’s major collections of Asylum Art containing about 5,500 objects (paintings, more
Abandoned Goods is an essay film exploring the journey of one of Britain’s major collections of Asylum Art containing about 5,500 objects (paintings, drawings, ceramics, sculptures and works on stone, flint and bone) created between 1946 and 1981, by about 140 people compelled to live in the Netherne psychiatric hospital in South London. Blending archive, reconstruction, animation, 35mm rostrum, and observational photography, the film explores the transformation of these objects from clinical material to revered art objects examining the lives of the creators and the changing contexts in which the objects were produced and displayed. close
A late night online chat between two men who haven't met since the turn of the millennium leads to their reunion after ten years of separation. The film more
A late night online chat between two men who haven't met since the turn of the millennium leads to their reunion after ten years of separation. The film navigates against time with an unsettling use of communication, recording technologies and temporal gaps. close
Margaret Tait documents her house, studio and garden in Buttquoy, Orkney as the seasons pass. She had lived there from the age of seven and often returned. more
Margaret Tait documents her house, studio and garden in Buttquoy, Orkney as the seasons pass. She had lived there from the age of seven and often returned. At the time of filming, the house was about to be taken back by the council - this film is an effective 'goodbye'. Margaret Tait said it 'was meant to define a place, or the feeling of being in one place, with the sense this gives one, not of restriction but of the infinite variations available.' close
"The film was conceived as a coda to a longer (colour) film, Place of Work, made in the same year. It covers the time of finally emptying a long-time more
"The film was conceived as a coda to a longer (colour) film, Place of Work, made in the same year. It covers the time of finally emptying a long-time family home, with its personal memories and connection with some of my own work. Fragments of verse, along with young children's voices released into the emptying rooms and staircases, and an ersatz 'pop' music track, clarify the familiar and the alien in the situation." Margaret Tait close
Caribs’ Leap / Western Deep comprises two complementary films that are shown together as a three-screen, synchronised colour video projection. The films more
Caribs’ Leap / Western Deep comprises two complementary films that are shown together as a three-screen, synchronised colour video projection. The films were originally commissioned for the Documenta 11 exhibition in Kassel, Germany in 2002. They were then screened in London by Artangel in the former Lumiere Cinema on St Martins Lane in the autumn of that same year. close
Told with authenticity and perception, David looks back on the life of a school caretaker in a Welsh mining town, from the marriage and birth of his son more
Told with authenticity and perception, David looks back on the life of a school caretaker in a Welsh mining town, from the marriage and birth of his son to the trauma of a pit accident. David was the first film produced by the BFI, in 1951, and the Welsh selection for the same year’s Festival of Britain screenings in London. close
In 2002, Laura Waddington spent months in the fields around Sangatte Red Cross camp, France with Afghan and Iraqi refugees, who were trying to cross the more
In 2002, Laura Waddington spent months in the fields around Sangatte Red Cross camp, France with Afghan and Iraqi refugees, who were trying to cross the channel tunnel to England. Filmed at night with a small video camera, the figures lit only by the distant car headlights on the motorways, Border is a personal account of the refugees' plight and the police violence that followed the camp's closure. close
LINE DESCRIBING A CONE is what I term a solid light film. It deals with the projected light beam itself, rather than treating the light beam as a mere more
LINE DESCRIBING A CONE is what I term a solid light film. It deals with the projected light beam itself, rather than treating the light beam as a mere carrier of coded information, which is decoded when it strikes the flat surface (the screen). It is projected in the normal way, on a 16mm film projector. Though inevitably there will be a wall that limits the length of the beam, a screen is not necessary. The viewer watches the film, by standing with his, or her, back towards what would normally be the screen, and looking along the beam towards the projector itself. The film begins as a coherent line of light, like a laser beam, and develops through the 30 minute duration, into a complete, hollow cone of light. Line Describing a Cone deals with one of the irreducible, necessary conditions of film: projected light. It deals with this phenomenon directly, independent of any other consideration. It is the first film to exist solely in real, three-dimensional, space. close
Christmas Eve. An enormous explosion tears through Lapland. Santa and his elf, Anthony, have crash-landed in the middle of nowhere on their busiest night.
Christmas Eve. An enormous explosion tears through Lapland. Santa and his elf, Anthony, have crash-landed in the middle of nowhere on their busiest night. close
A hand-processed portrait of Jake Williams – who lives alone within miles of forest in Aberdeenshire, Scotland. Jake always has many jobs on at any one more
A hand-processed portrait of Jake Williams – who lives alone within miles of forest in Aberdeenshire, Scotland. Jake always has many jobs on at any one time, rarely throws anything away, is an expert mandolin player, and has compost heaps going back many years. He has a different sense of time to most people in the 21st Century, which is explicitly expressed in his idea for creating hedges by putting up bird feeders. close
Journey into Spring is a 1958 British short documentary film directed by Ralph Keene, and made by British Transport Films. The film -- partly a tribute more
Journey into Spring is a 1958 British short documentary film directed by Ralph Keene, and made by British Transport Films. The film -- partly a tribute to the work of the pioneering naturalist and ornithologist Gilbert White (1720-1793), author of The Natural History of Selborne -- features a commentary by the poet Laurie Lee, and camerawork by the wildlife cinematographer Patrick Carey. The journey suggested by the title is through time rather than space. In fact, two such journeys are made: the first back to the eighteenth century to pay tribute to the work of White, and the second studies the changing natural landscape near White's home town of Selborne in Hampshire between a typical March and May. It was nominated for two Academy Awards -- one for Best Documentary Short, and the other for Best Live Action Short. close
A man struggling with his sexuality crosses paths with a student working on a time travel device which takes him to AN alternate universe and leads to his seduction.
A man struggling with his sexuality crosses paths with a student working on a time travel device which takes him to AN alternate universe and leads to his seduction. close
An exploration of the sensory experience of the TauTona gold mine in South Africa, showing migrant labourers working in dark, claustrophobic environments more
An exploration of the sensory experience of the TauTona gold mine in South Africa, showing migrant labourers working in dark, claustrophobic environments and the ear-splitting noise of drilling. The TauTona mine in South Africa, known as 'Western Deep' is the world's deepest gold mine. Employing more than 5,000 people, it operates twenty-four hours day. The film begins in complete darkness as the miners descend three-and-a-half kilometres underground. McQueen documents an intense work regime where the temperature can reach over ninety degrees celsius. Accompanied by jarring sounds created by the mechanical equipment, Western Deep is a hellish representation of labour that makes the silent resolve of the miners all the more powerful. close
Documentary film about the track workers and "fluffers" (track cleaners) who maintain the London Underground system every night during the few hours when the trains are not running.
Documentary film about the track workers and "fluffers" (track cleaners) who maintain the London Underground system every night during the few hours when the trains are not running. close
"Starting with a six-line script which just noted down a kind of event to occur, and recur, my aim was to construct a film with its own logic, its own more
"Starting with a six-line script which just noted down a kind of event to occur, and recur, my aim was to construct a film with its own logic, its own correspondences within itself, and its own echoes and rhymes and comparisons, all through close exploration of the everyday, the commonplace, in the city of Edinburgh." - MT close
A static camera records, in one single continuous shot, a woman's face before, during and after orgasm. The act of looking and the limits of the film more
A static camera records, in one single continuous shot, a woman's face before, during and after orgasm. The act of looking and the limits of the film frame are highlighted in this intimate sexual episode with Tina Fraser. Artist Stephen Dwoskin presents a powerful, personal moment while maintaining a distance and resisting the viewer being subsumed into the action on screen. close
This film was made by punching circular holes into fully opaque film stock and laying discs of colour film into some of the punched holes. Only the original more
This film was made by punching circular holes into fully opaque film stock and laying discs of colour film into some of the punched holes. Only the original copy of this film exists – it cannot be printed and is therefore projected only on rare occasions. As with other Le Grice films from the late 1960s, Spot the Microdot is marked by a radical rejection of ‘illusionism’, choosing to focus instead on the material properties of the film medium itself. close
A family's place in the wilderness, outside of time; free-range animals and children, junk and nature, all within the most sublime landscape. The work more
A family's place in the wilderness, outside of time; free-range animals and children, junk and nature, all within the most sublime landscape. The work aims at an idea of freedom, which is reflected in the hand-processed Scope format, but is undercut with a sense of foreboding. There's no particular story; beginning, middle or end, just fragments of lives lived, rituals performed. close
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