The boundaries between dream, memory, cinema, and different parts of the self dissolve to ravishing effect in this latest short by Los Angeles-based Chinese artist Zhuoyun Chen. Moving woozily between diary, autofiction and free association, “It Must Be Because I Decided to Leave” is awash with half-remembered exchanges, infectiously surreal images and the narrator’s desire to make sense of things, which never quite happens. Oneiric motifs of all kinds abound: Rocks are clasped by hands or merge with faces, screens appear in windowpanes or headlights, a gleaming red sports car spins in the California desert, a shadowy figure walks into a cave, and a dog rises up from a pool in reverse, its scrabbling limbs rendered in elegant superimpositions. The narrator shuttles through thoughts of desire, family and dislocation and refers to any number of “yous” and “Is”, although they could easily be one and the same. If “we all have landscapes inside”, this is a journey through them.

A ROBOT OF ME is a short AI-generated film that plays out like a virtual reincarnation of Andy Warhol in the age of artificial intelligence. In an apparently mundane scene - Andy buying soup in a supermarket - a philosophical daydream begins to unfold.
The film echoes his famous quote: “Machines have less problems. I'd like to be a machine, wouldn't you?” and raises the question of how Warhol might engage today with social media, AI, deepfakes, and prompts.

A reflection on maternity and violence using 43 black-and-white photographs that feature shadows, recalling the beautiful phrase by Victoria Chang: “I am carried in my shadow like a violin in its black case."

I used to find the dusk a very unsettling time, as though the approaching night was something to be feared. It was as if, once night fell you could not flee, and had to face unspecified consequences. Maybe the land remembers and the night will reveal what we might have done...

There was a plan to build a cinema in the cliffs. It might have been here. Responding to the archive and oral histories of Tyneside Cinema, (Newcastle upon Tyne) Sinkhole assembles voice, text, site footage and stop-motion animation into a story about the social function of cinema and being on the brink of collapse. During the timespan of Sinkhole's production the education department who commissioned the project had to close due to the cinema's financial difficulties, one of several waves of crisis it has faced in its long history.
The film incorporates Tyneside's realised and unrealised plans to extend physically and metaphorically beyond the site the cinema has operated from since opening in 1937. It's text samples from documents written by 1980s cinema director Sheila Whittaker, who was passionate about cinema’s expansive educational remit and was fond of long multi-clause sentences.

TRANSIT is a 16mm film poem with a soundtrack by Martin Bergande, a visual journey across the borders of the EU to the edges of Europe with the aid of tangential force and the means of transport car, train, ship and aeroplane across the borders of the EU to the edges of Europe.