Modern Times

Intrigued by the desire to have been a Bunny Girl, the director takes a look at what it meant. Interviewing several of the original Bunnies she learns the rules and expectations on the girls as well as the more sinister side of a 1976 murder.

Three blondes from another planet land on earth to conduct research into romantic love

amaeru(v). the attempt to draw close; depend; belong…’ Two Japanese girls appear in the West country in a radio transmitter field above Eggardon Fort; they go to school in Lyme Regis; they live in the countryside; they sleep in the same bed; they explore the town; they separate. Amaeru.. is a dreamlike narrative of transience and separation, an ode to homesickness through place and time. Includes PJ Harvey performing a specially composed version of the Three Degrees’ "When Will I See You Again."

No Place, set in King's Cross, London, represents the point of view of a woman (Dorothy from the Wizard of Oz grown up into Judy from Hitchcock's classic Vertigo) looking back, from the apparent sanctuary of a church, contrasting her memories of the countryside with a loss of innocence, and of childhood illusions, following her arrival in the Emerald City. An elusive collage of real and fictional characters who all live in a kind of temporary limbo a long way from home but still looking for a sense of belonging.

Magnificent Ray explores the western by focusing on gender relations in a confluence of the dream movie genre and everyday life. Filmed on location in Bridport and Portland in West Dorset, and featuring locals as extras and principal players, Florence encounters Ray a subtle souled girl slipping into forgetfulness. Their journey from showdown to slowdown explores the nature of dreams whilst sensing a narrative. Miles teases out the glamorous cowgirl/boy image in teenage girls through music and costume as they adventure through a rich, wild, western landscape. - Jo Lanyon, Director of Picture This Moving Image from the catalogue to the show

An organic documentary. Girls experience and women remember being twelve years old, jammed together in a menstrual hearse (a white Talbot lined with red velvet). The body remembers what the mind forgets, going forwards towards the past. Each woman’s memory is reflected in her representation: Stella as an angry, haggard Tinkerbell; Emma made up as Marilyn, headbanging in the forest of dreams. My mother asks for a bag over her head.

A Family Odyssey Ophelia’s Version is a poetic experimental film exploring the hidden systemic powers of identification within a family constellation through four generations. Ancestors haunt the landscape like screen memories and family members collaborate to perform aspects of themselves. A collage of family album; the filmmaker’s father’s photographic archive; Hollywood narratives including Apocalypse Now, Badlands and Breakfast at Tiffany’s reflect a complex layering of narratives.

"A meditation of the heartbreaking performance of identity. Inspired by material shot during a visit to Mike Wade studio on the Jurassic coast as he finishes a waxwork of Marilyn Monroe for a Hollywood Museum. This material provided the canvas for an intimate embroidery exploring her life, her work, her self. One American Woman, a speculation on disbelief. Additional layers all emotion and abstraction include a window overlooking the remnant tombs of a graveyard garden adding a haunting and introspective atmosphere. A correspondence with KE Jung Korean Psychoananlyst leading to thoughts about the connections between childhood sexual trauma and Hollywood and wax. It becomes Kind of a gift to her And a homage to my grandmother’s textile talents."

'A fugitive feminist in fur.'