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United Kingdom

The photo shows the lower half of an individual walking with the aid of a prosthetic leg. The person is wearing shorts, a single black sock, and black shoes. The flooring is a smooth, reflective surface, and there are handrails alongside, suggesting a rehabilitation facility or a space designed for physical therapy. The focus on the prosthetic leg highlights themes of mobility, recovery, and adaptive technology.

Fitting

Fitting explores the relationship between the director, an amputee, and her prosthetist during the making of a prosthetic leg. It demystifies an unfamiliar space and asks what it means to create an extension to someone else’s body, questioning prejudice widely seen within our society’s consideration of body image.

Close-up of the left side of a person's face, focusing on a clear blue eye. The image captures detailed textures such as skin and eyelashes, with the rest of the face softly out of focus. The background is indistinct, providing a neutral setting that highlights the eye.

Clean

One woman’s love letter and final goodbye to heroin, as she attempts to come off the synthetic opiates that have kept her clean for the past six years. This short documentary attempts to reframe some of the stigmas of addiction, and poses the following question: what does it mean to be ‘clean’?

A group of people dressed in casual attire is gathered outdoors holding a banner that reads, "Women for Life on Earth Peace March '81". The banner features symbols of peace and the Earth. The setting is a sunny day with trees and open skies in the background.

Sew to Say

Thalia is an artist, banner-maker, and one of the original marchers and founders of a women-only peace camp against nuclear weapons. In this film, Thalia shares the untold story of the longest feminist protest in British history, and reflects on how collective action changed the lives of the women of Greenham Common and inspired several generations.

A person is seated on a curb in a parking lot, wearing a tie-dye dress and sandals, with a small blue handbag next to them. They have a tattoo on their arm and are wearing a name tag sticker. The person looks off to the side with a thoughtful expression. Behind them, there is a car parked and trees that suggest the area could be near an office or a public building. The setting appears to be during the day with overcast weather.

Is There Anybody Out There?

While navigating daily discrimination, a filmmaker who inhabits and loves her unusual body searches the world for another person like her, and explores what it takes to love oneself fiercely despite the pervasiveness of ableism.

A person stands on a balcony with their arms crossed, surrounded by graffiti-covered walls. Behind them, a cityscape with various buildings in different states of construction and maintenance is visible. The contrast between the neglected foreground and the bustling city background highlights a narrative of urban resilience and perhaps social issues. The sunlight casts shadows, adding to the gritty ambiance of the setting.

The Cities I Live In

Newly settled in Belfast, a filmmaker tells his infant twins about his life journey. They see him leaving one violent place for another, longing for places that he will never see again, and hoping they will not carry his curse.

A hand with the palm facing forward and fingers slightly apart, set against a backdrop of a rock surface with natural lines and crevices. The lighting is soft and dim, suggesting either early morning or late afternoon, with warm tones that give the skin a reddish hue, contrasting with the cooler tones of the rock. The focus is on the hand, which is centered in the frame, while the rock surface in the background is slightly blurred. The composition is simple and evocative.

There’s Not Much We Can Do

In this personal essay documentary, the director reflects on getting diagnosed with endometriosis through observing the invasive Japanese Knotweed. While the plant is treated with urgency, the disease is met with inaction, prompting us to question the very things we consider “natural” in the first place.

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