Anal Angels 8

Jade Chloros is suffering a great loss; the loss of her father. A coping mechanism for Jade and her mother are their strong religious beliefs; however, Jade has felt too much pain to believe that God will help her. Jade begins to rebel against herself and her religion. One night, after a bath, Jade finds herself in an empty grass field with the only thing in sight being a 24 hour diner: The Green Hat Diner. After Jade enters the diner to use their phone to call her mother, Ariel, the diner’s outgoing waitress, tries everything she can to convince Jade to not go home. As the night goes on, the diner becomes more eerie, and Ariel becomes more sinister. It is clear to Jade that this is not a typical 24/7 diner. Jade tries everything she can to escape, but she comes to realize that it may not be possible.

Mirrored Measure features two women separated by a generation. The older woman ceremoniously lays a table – she repeatedly spreads a cloth and smoothes it out. The table is set and glasses and jug filled with water. A balanced and controlled ritual follows in which the jug is passed round and water is repeatedly sipped. Water becomes the lens through which we see and the medium through which the protagonists connect. The sense of connectivity is abruptly severed when the first glass tumbles.

Swollen Stigma nourishes the fantasy of its protagonist’s inner life and proposes a lesbian imaginary which takes leap into risk and displacement. The film opens with an entranced seated woman working her fingers through a single strand of hair and proceeds to explore her lived imaginary in which desire and fear interlace. She re-visions different moments in time which are haunted by an absent lover. Like a playful fairy princess, this lover appears upside down in an armchair, hanging legs-down from the ceiling, playing dead on the floor, or eating roses; her body continuously permeates the woman’s reality. The film’s shifting points of view jump between the protagonist, fantasy spaces and her lover, making an internal world leak into what is external with the fluidity of blood into water.

Cast creates a claustrophobic and haunting space where people and things invade worlds in which they do not normally belong. Lifeless dolls are heaped inside drawers, dolled-up life size figures lie motionless on a windy beach at the water’s edge; a chair rocks in an empty room, a mirror reflects and observes, and a chest of drawers is caressed by the sea. The film has a dramatic sensibility that sets up a false promise of narrative. Its structure, instead, is akin to that of dreams where different scenic spaces collapse and the inanimate and animate interchange. Wide-angled perspectives, shifting points of view and juxtapositions of sound and silence force inner and outer realities to collide, creating an unsettling psychic world.

Blind Light is filmed in the artist’s London loft. The presence of camera, studio and artist/performer are registered through image and sound, the loss of the former filling out the presence of the latter. In this way the physicality of object, space and subject as well as their inferiority is fleshed out, mapping out a space that is at once material and psychical. Controlling the light she allows into the frame, the artist lifts the blinds or pulls them shut, applies or removes lens filters, opens wide the aperture or closes it. Each performance or action threatens the image as it shifts in and out of ‘proper’ exposure until it disappears completely. Focusing either on the window or the sky, the artist narrates her camera operation whilst also describing what she sees; intermixing receptive and projective vision.

George and The Man In The Yellow Hat are having a merry time counting down to Christmas. But neither can decide what to give each other. Will they find the answers before Christmas morning?

Travel alongside the astronauts as they deploy and repair the Hubble Space Telescope, soar above Venus and Mars, and find proof of new planets and the possibility of other life forming around distant stars.

Follows two girls living in Sweden in the 1960s who both dream about becoming rally drivers.

With just weeks before their royal wedding, Paige and Edvard find their relationship and the Danish monarchy in jeopardy when an old law is brought to light, stating that an unmarried heir to the throne may marry only a woman of noble blood or else he must relinquish his crown.

Winnie the Pooh, Piglet, Owl, Kanga, Roo, and Rabbit are preparing a suitable winter home for Eeyore, the perennially dejected donkey, but Tigger's continual bouncing interrupts their efforts. Rabbit suggests that Tigger go find others of his kind to bounce with, but Tigger thinks "the most wonderful thing about tiggers is" he's "the only one!" Just in case though, the joyously jouncy feline sets out to see if he can find relatives.