Solitude

An unconventional portrait of painter Frida Kahlo and photographer Tina Modotti. Simple in style but complex in its analysis, it explores the divergent themes and styles of two contemporary and radical women artists working in the upheaval of the aftermath of the Mexican Revolution.

Temenos means a sacred site or ritual precinct. Temenos, the film, explores the phenomenon of visionary experiences. In the film we see locations where the Virgin Mary is said to have appeared, including Lourdes, Fatima and Medjugorje in Bosnia & Herzegovina where the visions continue. Nina Danino films the landscapes that have witnessed these transcendental appearances, imbuing them with a sense of the sacred.

Gibraltar as a real place – and an imagined geography and history. In the first part, the camera travels around West Berlin picking out touristic monuments and describing them in terms of their significance to military history… In the second half (in which the commentary also charts the escalation of land frontier sea and air restrictions), a ferry leaves a quayside and sails into the open Strait. It is an image of freedom but also a melancholy image of parting.

A film on Saint Teresa that leads us through an unnervingly authentic extreme state of religious and sexual ecstasy. With the central image of the statue of Saint Teresa of Avila in Rome, together with glimpses of colour-saturated flower gardens, the Crucifixion and Baroque plasterwork, we listen to the gulping and frenetically clipped voice of the ‘saint’ pouring out her rapturous lament, attempting to express the unsayable. The film’s soundtrack combines a spoken voice by Nina Danino and performed vocals by New York experimental singer Shelley Hirsch.

Stabat Mater opens and closes with two sung laments, then launches into a breathless torrent of words and phrases, a re-reading of the eternal feminine of Joyce’s Ulysses, which echoes the exultant/feverish swoop of the camera through a Mediterranean landscape

The film unfolds the life of an enclosed monastery over the course of one day. It invites the audience into a world of enclosure which is rarely seen from the inside. It is a portrait of both the interior of the building and of Jennifer, a Carmelite nun.

Documentary about the composer Elizabeth Maconchy, filmed during the rehearsal of a new composition

The interior of a house. Outside, the sun parches the landscape. A woman’s voice tells a story. Filmed from 35mm slide projection on 16mm reversal Fuji film with in camera fades and pans.

Spanish popular copla songs and their mighty female singers are the focus of this evocative film.

Black and white Super 8 footage is combined with HD images of black and white photographs held in close up reflection, as thoughts and responses to these images are spoken live to the camera. The images are indices of disappearance as are the audio fragments of cinema films (La Dolce Vita 1960 and The Gospel According to St. Matthew 1964) from the same time as the photographs were taken.

A communion portrait of a young girl filmed and lit in the classic style of 50s Hollywood and European classic cinema.

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 poet. The two films form a diptych about powerful iconic women building on Nina Danino’s longterm artistic practice exploring the voice and religious iconography.

A 16mm portrait in response to the idea of simplicity and poverty which is the guiding principle of the Poor Clares and their ‘hidden’ life. Filmed in the enclosed Monastero di Santa Chiara, San Marino. The nuns spend the morning in the ‘laboratorio’ sewing, mending, ironing, in the kitchen preparing the midday meal and in the garden, tending to the animals and cultivation.

The rough voices of men (from Pier Paolo Pasolini’s Accatone ) open the film soundtrack, they banter in Italian about taking flowers to the cemetery. Filmed in Granada and Seville during Holy Week. The soundtrack mixes a cacophony of the music of the marching bands recorded live on location, the ambience of the crowds and the sung laments. The centre piece is The Silence, a totemic hyper realist effigy from the 17th century which processes at midnight in total silence along the streets where the lighting has been turned off. After it passes, we cross over into the light and noise of a new day – where people throng the streets, sit in cafes and enjoy life. Popular devotion is expressed in death intertwined with the applause for life in the energy of the Baroque.