Lucy Harris

A team of animal heroes with special skills and speedy vehicles work together to keep Big Tree City safe and solve the town's trickiest problems.

Filmed on location in the empty Olympic venues built for the Berlin 1936 Olympics, the interweaving of the architecture and two fencers performing a series of choreographed gestures, creates a tense dialogue between distinct architectural spaces disrupted by a legacy of past gestures.

The greatest British film company emblematically deconstructed.

Fellow musicians, journalists and fans celebrate Fleetwood Mac with a selection of their best-loved songs. They have endured, like all great bands, because of the complimentary talents of its members. From Peter Green to Christine McVie, Stevie Nicks and Lindsay Buckingham, it has contained some extraordinary songwriters. With brilliant musicians on all instruments, the band has been able to turn the songs into commercial gold.

Optical printing brings to life the Bride of Frankenstein. The film is re-appropriated, re-animated and given another life via the filmmaker's 16mm laboratory. Visually hovering between the conscious and unconscious, the film’s frame lines shift between lucid imagery and unfocused narrative.

Following a fire in the studio, this film is a result of the after-effects of the smoke damage. The smoke left a negative imprint on every surface, in every drawer, in every box. Solid marks and traces remained ‘fixed’ as photographs, ‘exposed’ as photograms. These ‘negatives’ are re-exposed as a 16mm film.

The Palestinian Film Archive contained over 100 films showing the daily life and struggle of the Palestinian people. It was lost in the Israeli siege of Beirut in 1982. Here interviewees describe from memory key moments from the history of Palestinian cinema. These scenes are drawn and animated. Where film survives, the artist’s impressions are corroborated. This is a film about reconstruction and the idea that cinema is an expression of cultural identity – that cinema fuels memory.

During lockdown I started an experiment, filming each full moon for a year. I also tried to ‘understand’ lunar science but whatever books I read I couldn’t seem to hold the facts in my head. Instead, each month I was surprised by the things I observed directly – a fingernail sliver moon, a punch hole in the sky. Because the repetition of that act of filming meant I noticed both consistency and changes – clear nights, cloudy nights, masked moons, moving moons. Filming made me stop and look. A vital reminder: it’s the looking that matters.